




































COPYRIGHT DEPOSIT. 





























\ 


r 


The Actors’ Birthday Book 






























































































































































A ^ YM.c-t u>6 y 

TXa. frwttjb ry to ^"^'4 j^ror^ / 

Arr& QUl A "^TLA^LXmr * 





























































































































































































































































THE ACTORS’ 
BIRTHDAY 
BOOK 



SECOND SERIES 


AN AUTHORITATIVE INSIGHT INTO THE 
HIVES OF THE MEN AND WOMEN OF THE 
STAGE BORN BETWEEN JANUARY FIRST 
AND DECEMBER THIRTY-FIRST . 


JOHNSON BRISCOE 

\ ' 

HISTORIAN 


NEW YORK 

MOFFAT, YARD AND COMPANY 
1908 










?N 7-^ 
■37 


/ 


- r n w—.-T • 

1U6RARY of 
| \ wu Oooies 


OONuRESS! 

Uooies rtecetvtff 

OCT 3 1 SWB 

ULAS& OU Nw ' 



Copyright, 1908, by 

The Actors’ Birthday Book Company 

New York 


All Rights Reserved 



THE QUINN & BODEN CO. PRESS 
RAHWAY, N. J. 







Scenario 


The second series of the Actors’ Birthday Book needs little in the 
way of a scenario, except to repeat what has been said in the pre¬ 
vious volume. Encouraged by the success of its predecessor, the 
compiler has done his best to maintain the standard of the earlier 
work, at the same time endeavoring to achieve even a higher grade of 
excellence. As in the first book, only a few of the artists mentioned 
herein supplied any data concerning themselves, a plea for any in¬ 
accuracies, bound to occur in biographical research, that may be dis¬ 
covered. The same complimentary spirit in the writing of the 
biographies is again maintained, to better carry out the idea of a 
birthday publication. Not a few readers will be glad to note the in¬ 
troduction of the names of several well-known players who have 
crossed the great divide. Many English names have also been 
introduced into the present volume, it being the compiler’s wish to 
make the work as comprehensive in its scope as possible. And, too, 
it is regrettable that there still remain unfilled several calendared 
dates, though the number is lessened at least four-fifths, several 
names, of a necessity, being carried over from the first book, and, 
thus encouraged, it is to be hoped that the list will be absolutely 
complete in subsequent volumes of this work. 






















































































Cast 


Page 

Abeles, Edward . 248 

Achurch, Janet . 31 

Adams, Annie A. 179 

Adams, Maude . 253 

Ainley, Henry . 191 

Allen, Ruth . 60 

Allen, Viola . 241 

Anglin, Margaret . 92 

Anson, G. W. 261 

Anstey, F. 181 

Arbuckle, Maclyn . 160 

Arden, Edwin . 53 

Armstrong, Paul . 104 

Asche, Oscar . 149 

Aymar, Neva . 101 

Aynesworth, E. Allan. 99 

Bailey, Consuelo . 112 

Baird, Dorothea . 121 

Baker, Guelma . 223 

Bandmann-Palmer, Mrs.207 

Barrie, J. M. 116 

Barrymore, Ethel . 188 

Barrymore, John . 54 

Barrymore, Lionel . 106 

Bascomb, A. W. 15 7 

Beaumont, Nellie . 231 

Bennett, Richard . 121 

Bergere, Valerie . 74 

Bernard, Barney . 190 

Bigelow, Charles A.272 

Bingham. Amelia . 79 

Binley, Gertrude . 270 

Black, Nettie . 14 1 

Blanche, Belle .1 3 2 

Blandick, Clara . 134 

Blossom, Henry M. 117 

Bogart, Andrew . 212 

Boland, Mary . 33 

Boucicault, Dion . 123 

Bourne, Margaret . 1 7 1 

Boyne, Leonard ... 97 

Bradfield, W. Louis .. 14 1 

Bramwell, William . 207 

Brandt, Sophie . 156 

Brereton, Austin . 162 

Brian, Donald . 55 

Brockbank, Harrison . 223 

Bruna, Eda . n 5 

Buchanan, Virginia . 194 

Buckley, May . 274 


Buckstone, J. C.. 

Page 
. 205 

Burke, Billie . 

. 181 

Burkhardt, Harry .. 

. 217 

Busley, Jessie .. 

. 73 

Butler, Cecil .. 

. 150 

Byron, Oliver Doud .. 

. 256 

Carhart, James L.. 


Carleton, Henry Guy.. 


Carlisle, Sybil . 

. 5 i 

Carr, F. Osmond . 

. 103 

Chambers, C. Haddon . ... 

.103 

Chambers, Kellett . 

. 262 

Chapman, Marian . 


Claretie, Jules . 

. 268 

Clarges, Verner . 

. 24 

Clark, Marguerite .. 

. 59 

Cohan, Josephine . 

.281 

Comstock, Nanette . 


Connelly, Edward J. 

.285 

Corcoran, Jane . 

. 187 

Courtleigh, William . 

. 150 

Crane, William H . 

. 107 

Crosman, Henrietta . 

. 202 

Dailey, Peter F. 

. 22 

Dale, Teresa . 

. 18 

Daly, Arnold . 

. 225 

Daly, Vinie .. 

. 36 

Dandy, Jess . 

.250 

Dane, Essex . ..... 

. 48 

Darrell, Charles . 

. 151 

Davenport, Fanny. 

. 97 

Davenport, Harry . 

. 33 

Davies, Phoebe . 

. 83 

Davis, Richard Harding . .. 

. IOI 

Dazie, Mile.. 

. 211 

Dean, Doris . 


De Fillippe, Dora . 

.235 

De Mar, Carrie .. .. 

. 90 

De T'reville, Yvonne . 

. 193 

De Vere, George F. 

. 114 

De Wolfe, Drina .. 


Doro, Marie . 


Dorr, Dorothy . 

. 280 

Downing, Robert L. 

.242 

Dresser, Louise . 


Drew, John . 

.255 

Drew, Louise . 

.215 

Drew, Margaret . 

. 127 

Du Maurier, Gerald . 

. 82 

Duncan, Malcolm . 

.212 


11 







































































































Page 


Earle, Clara . IX 7 

Earle, Erminie .. 26 

Edeson, Robert . 133 

Ediss, Connie . 185 

Elen, Gus. 167 

Eliscu, Fernanda . 104 

Elton, Edmund . 47 

Evans, Charles E.204 


Fairbrother, Sydney 

Farrell, John J. 

Fassett, Edna . 

Faust, Lotta . 

Fay, Elfie . 

Fealy, Maude . 

Fenton, Mabel . 

Ferguson, Robert V. 
Finney, Jameson Lee 

Fischer, Alice . 

Fisher, Sallie . 

Fiske, Harrison Grey 
FitzGerald, Marie V. 
Florence, Katherine . 

Forrest, Arthur - 

Foy, Eddie . 

Frederick, Pauline . . 
Friganza, Trixie ... 
Fuller, Margaret ... 


174 

131 

258 


49 

27 

69 

84 

9i 

279 

3i 

183 


174 

170 


279 


189 


73 

186 

263 

36 


Gabriel, Master . 146 

Galland, Bertha . 256 

Gallatin, Alberta . 94 

Gardner, Grace . 7 ° 

Garrick, Henry W. 193 

Genee, Adeline . 23 

Gillette, Viola . 228 

Gillingwater, Claude . 178 

Gillmore, Frank . 118 

Glendenning, John . 264 

Goodfriend, Ida Jeffreys .227 

Goodwin, Nat C. 169 

Gordon, Margaret . 276 

Graham, Robert E. 275 

Greene, Evie . 29 

Grey, Katherine . 282 

Grossmith, Weedon . 139 


Hale, Helen .•. 232 

Hale, Walter . 179 

Hall, Laura Nelson . 161 

Hampden, Walter . 151 

Hankin, St. John . 215 

Hardy, Sam B. 80 

Hare, Sir John . 119 

Hare, Lumsden . 105 

Harrigan, Edward . 240 

Harris, Henry B. 267 

Hedmondt, E. C. 239 

Held, Anna . 78 

Hengler, Flora . 172 

Hengler, May . 113 

Herman, Selma . 126 

Herne, Chrystal . 143 


Herne, Julie . 

Hilliard, Robert . 

Holland, E. M. 

Holland, Joseph . 

Holland, Mildred . 

Holies, William . 

Hopper, De Wolf. 

Housman, Laurence .. 

Howard, Harold. 

Howson, Albert S. 

Hughes, Rupert . 

Hughston, Regan . 

Hutchinson, Kathryn . 

Irving, Sidney . 

Jackson, Ethel . 

James, Louis . 

James, Millie . 

Janauschek, Madame . 

Janvier, Emma . 

Jay, Isabel . 

Jewel, Izetta . 

Johnson, Owen . 

Johnson, Selene. 

Jones, Franklin . 

Jordan, Kate . 

Kalich, Bertha. 

Kelcey, Herbert . 

Kelly, Walter C. 

Kendrick, Alfred .... 

Keyes, Katherine . 

Klein, Cecil . 

Kremer, Theodore .... 

Lackaye, Wilton . 

La Pierre, Irma . 

Latham, Hope . 

Law, Arthur . 

Lawton, Thais. 

Leicester, Ernest . 

Leigh, Alice . 

Le Hay, John . 

Le Seur, Charles . 

Leslie, Elsie . 

Lewis, Eric . 

Lewis, Frederick . 

Lipman, Clara . 

Littlefield, Emma . 

Llewellyn, Fewlass . .. 

Lloyd, Alice . 

Lloyd, Marie . 

Lloyd, Rosie . 

Loftus, Cecilia . 

Lotta . 

Lowrey, Gwendolyn .. 

McAlister, Jessie . 

MacDonald, Christie . . 
MacDowell, Melbourne 
McIntosh, Madge 
Mackay, Charles . 


12 


<V Tt-Vo Tt-00 vO01voi/->01mi-<N00 10 \Q iovO M 10 O rfOO 01 m inO fOQ 't OvOO 0\ 01 vO O lOOOO 01 Tf rx ON fO O 00 Q\ tx 01 iO00 OWO Q\ Tf Q m Tf 

bJO ’'t cm o O'* OWO 00 VO 0\00 ^too VO PI HVO H covO On vnvO O <0 tTOO •^-'O 'O (-000 'rf t}- ir )00 01 00 to vo tx 01 VO 05 io fO 05 TtOO O VO VO 0\ o ”5 
























































































































Page 

McKenzie, Beatrice . 269 

Mackintosh, William. 167 

McLean, R. D. 71 

McNaughton, Fred . 125 

McNaughton, Tom . 135 

McRae, Bruce . 30 

Maher, John B. 67 

Mann, Louis . 102 

Mannering, Mary . 106 

Mantell, Robert. 48 

Marble, Mary . 83 

Marston, Vivian . 54 

Matthews, Brander . 59 

Maycliffe, Ruth. 277 

Mellish, Fuller . 20 

Melville, Rose . 40 

Merrilees, Carrie . 210 

Merritt, Grace . 168 

Michelena, Vera . 144 

Mildenberg, Albert . 28 

Miller, Henry . 45 

Millett, Maude . 250 

Mitchell, Dodson . 35 

Millward, Jessie . 163 

Montgomery, David . 102 

Moody, William Vaughn . 159 

Moore, Decima . 272 

Moore, Irene . 218 

Moore, Mary . 156 

Moore, Victor . 61 

Morris, Clara . 78 

Morrison, Lewis . 203 

Murphy, Tim . 98 

Murray, Alma . 259 

Nazimova, Alla . 122 

Neilson, Julia . 14° 

Neville, Henry . 146 

Nethersole, Olga . 3 2 

Niblo, Fred . 1 7 

Nichols, Blanche . 7 2 

Nobles, Milton . 217 

North, Bobby . 46 

Oaker, Jane . 145 

O’Brien, Nora . 206 

Oliver, Olive . 1 47 

O’Mara, Joseph . 164 

O’Neil, Nance . 229 

Opp, Julie . 38 

Parker, Louis N. 238 

Phillips, Alexandra . 247 

Phillips, Augustus . 177 

Pinero, A. W. . I2 3 

Pitou, Augustus . .. 63 

Pitt, Fanny Addison . 267 

Post, Guy Bates . 213 

Potter, Mrs. Brown . 119 

Powers, James T. 105 

Poynter, Beulah . 136 

Priest, Janet . 261 

Primrose, George . 2 54 

Prince, Adelaide . 2 73 


Page 

Quinlan, Gertrude . 62 

Radclyffe, Cecilia . 75 

Raleigh, Cecil . 37 

Rankin, Phyllis . 197 

Rawson, Thomas W.234 

Reed, Florence .i. 251 

Reynolds, E. Vivian . 148 

Ricard, Amy . 19 

Richards, Isabel . 233 

Roberts, Arthur. 213 

Robson, Eleanor . 273 

Robson, Mrs, Stuart . 247 

Rock, Charles . 127 

Roebuck, Mabel . 196 

Roma, Caro . 206 

Rose, Edward E. 5 1 

Ross, Charles J. 56 

Ross, Thomas W. 35 

Russell, Lillian . 268 

Russell, Sol Smith . 14 2 

Ryan, John . 26 

St. Leonard, Florence. 99 

Sanderson. Julia . I 9 1 

Saunders, Elizabeth . 94 

Scott, Cyril . 5 ° 

Sears, Zelda . 34 

Selbini, Lalla . 195 

Shalek, Bertha . 20 

Shannon, Effie . 118 

Shannon, Walter .. 184 

Shipman, Ernest . 2 74 

Sitgreaves, Beverly . 100 

Smith, C. Aubrey. 166 

Smith, Edgar . 271 

Smith, Harry B. 283 

Smith, Mark . 100 

Spooner, Cecil . 39 

Standing, Guy . 201 

Sterling, Richard . 197 

Stevens, Emily . 63 

Stone, Fred A. 19 ° 

Stowe, Vira . !73 

Stuart, Leslie . 76 

Stuart, Otho . l & 2 

Sully, Daniel . 2 49 

Sutherland, Mrs. E. G.208 

Taylor, Billee . J 39 

Tearle, Conway . 120 

Tennant, Dorothy . 161 

Terriss, Ellaline . 98 

Thompson, Lydia . 57 

Tillbury, Zeffie . 259 

Trevelyan, Hilda . 47 

Troutman, Ivy . 2I 4 

Tyars, Frank . I 7 ° 

Vachell, H. A... 2 44 

Vance, Clarice. 

Van Studdiford, Grace . 25 

Vezin, Hermann . 67 

Voorhees, Winifred . 93 


13 



























































































































Page 


Wadsworth, William . 137 

Wainwright, Marie . 116 

Wakeman, Keith . 95 

Waldron, Georgia . 120 

Walker, Charlotte . 284 

Wallace, Fay . 79 

Waller, Lewis . 248 

Walsh, Blanche. 21 

Waring, Herbert . 257 

Warrington, Ann . 216 

Watkins, Rosina . 284 

West, Paul . 37 

Whiffen, Mrs. Thomas . 75 


Page 

Whiteside, Walker. 77 

Whitford, Annabelle . 15 7 

Whitman, Helen . 138 

Williams, Fritz . 192 

Wilson, Benjamin F. 158 

Winter, Percy . 257 

Wood, Marjorie . 203 

Wycherly, Margaret . 240 

Wyndham, Sir Charles . 81 

Yale, Francis . 230 

Zabell, Flora . 89 


li 



























MRS. JOHN DREW. 


Died, August 31, 1897. 


Born, January 10, 1820 




















' 
























































































January 1 


Fred Niblo 


lV/JOST happily and appropriately has Fred Niblo been called “ The Ameri- 
1 V 1 can Humorist,” a title that he has justly earned by his long service 
in the vaudeville world. His gay and bright “ patter,” of all of which 
be is the author, is composed of only the wittiest and most up-to-date mate¬ 
rial, fairly brimming over with, waggish drolleries, and his humorous appeal 
is of the permanent quality that holds his old admirers, while constantly 
winning new ones. Practically all 
of Mr. Niblo’s stage career has been 
devoted to the vaudeville branch of 
the profession, in which field he 
stands almost alone among humor¬ 
ists, both as a speaker and writer. A 
scion of one of the old Knicker¬ 
bocker families, Mr. Niblo braved 
parental opposition in deciding to 
follow a stage career, a decision he 
has never regretted and for which 
the theatregoing public owe him a 
debt of gratitude. The vaudeville 
stage, minus this prince of fun- 
makers, would suffer a distinct loss 
that only another monolog;st such 
as he, even conceding that there may 
be another, would be able to replace 
—and it would be a difficult task, 
too, for this young actor possesses 
magnetism and a distinct personality 
such as given to few. On June 2, 

1901, Mr. Niblo married Josephine 

Cohan, the dainty comedienne, at which time he was high in favor in vaude¬ 
ville, and for several years thereafter he abandoned the footlights for the 
business end of the profession, acting in the capacity of manager for the 
Four Cohans in their two big successes, “ The Governor’s Son ” and “ Run¬ 
ning for Office,” thus discrediting the prevalent idea that the actor is a poor 
hand at business direction. It was during this time that Mr. Niblo originated 
the rather novel and attractive advertising catch-line, “Fred Niblo Politely 
Proffers the Four Cohans.” It was not long, however, before his many ad¬ 
mirers clamored for his return to active stage duties, and, beginning with the 
season of 1904-05, he again resumed his stage career, appearing for a short 
time only as Walter Lee Leonard in “ The Rogers Brothers in Paris.” Then 
came his successful re-entry into vaudeville, where he has remained ever 
since and where his recent triumphs are so well known that any further 
word of them here seems almost superfluous. Nor has Mr. Niblo s fame 
been confined exclusively to the Land of the Stars and Stripes, for he has 
played several highly successful engagements in England, South Africa and 
other parts of the English-speaking world. He has made rather a courageous 
fight to attain his present position, all the more credit to him, and his 
future appears as roseate as even his most enthusiastic admirers could wish. 





January 1 Teresa Dale 

T ERESA DALE is a young emotional actress, lately come into the East, 
whose future will bear close watching, for it is pretty sure to be 
productive of uncommonly fine results, that is, if tremendous ambi¬ 
tion, a compelling personality and unquestioned dramatic skill count for 
anything. She has received a good and faithful apprenticeship in the rugged 
field of Western stock and traveling companies and has acquired a sound 

knowledge of the finer technicalities of her pro¬ 
fession which will prove of the greatest benefit 
to her now that she is braving more effete theatri¬ 
cals. Miss Dale’s first years behind the foot¬ 
lights were devoted to traveling repertoire com¬ 
panies, such as the Keystone Dramatic Company 
and Dick Ferris’ companies, following this up 
with a period in Chicago stock companies, and 
then came a year divided between the melodramas 
of “ Human Hearts,” in which she played Jeanette 
Logan, and “ Fabio Romani,” winning special 
praise for her Countess Nina in this piece. It was 
after this that Miss Dale’s professional fortunes 
began to .take an upward turn, being engaged 
for the summer of 1905 as leading lady with Mil¬ 
dred Holland, when that actress played a special 
stock-starring term at the Lyceum Theatre, Buf¬ 
falo. So excellent an impression did Miss Dale 
make that she was retained as Miss Holland’s 
leading feminine support all of the season fol¬ 
lowing, being praised upon all sides for her 
portrayal of the Countess Vorontzof in “ The 

Triumph of an Empress.” The next year she 

played opposite James O’Neill, as Mercedes in 
“ Monte Cristo ” and created the role of Herodias 
in “ The Voice of the Mighty,” a part that gave great scope to her tragic 
and emotional abilities, winning unanimous praise from the press, and was 
conceded to be one of the cleverest leading women Mr. O’Neill ever had. 
Miss Dale then went to New Orleans and played a number of heavy emo¬ 
tional roles with the Baldwin-Melville Stock Company. In the spring of 
1908, she re-joined Miss Holland’s forces during her special New York 
engagement at the Yorkville Theatre, and completely captured the metro¬ 
politan critics by the force and distinction of her acting. Miss Dale is a 
most earnest and ambitious actress, is constantly studying with a view to 

improvement in her work and there is no question about it that her future 

will be one of exceptional import in stage circles. 

^9 @j^9 



Janus was invoked at the commencement of most actions; even in 
the worship of other gods, the votary began by offering wine and 
incense to Janus. The first month in the year was named from him, 
and under the title of Matutinus he was regarded as the opener of 
the day. Hence he had charge of the gates of Heaven, and hence, 
too, all gates, Januae, were called after him and supposed to be 
under his care. Hence, perhaps, it was that he was represented with 
a staff and key and that he was named the Opener (Patulcius) and 
the Shutter (Clusius). 


18 





January 1 Amy Ricard 

PEW of the younger generation of American actresses are so richly 
*■ endowed as Amy Ricard. Blessed with youth, unlimited ambition and 
a most engaging personality, this enthusiastic young player has had a 
comparatively easy professional road to travel and her reward has been 
proportionately large, now being upon the threshold of stellar glories, a 
distinction well earned. Miss Ricard is a Western girl by birth, hailing from 
Denver, Colo. Upon her decision to 
follow a stage career, she came East 
and took a course of study at the 
American Academy of Dramatic 
Arts, graduating with high honors 
from that institution. During her 
first years as an active professional, 

Miss Ricard’s destinies were guided 
by no less an astute manager than 
Daniel Frohman, playing small parts 
and acting as general understudy in 
•the Lyceum Theatre Company. She 
also appeared on the road as Amelia 
in “ The Prisoner of Zenda ” and 
with James K. Hackett in “ The 
Pride of Jennico.” It was the sea¬ 
son of 1900-01 that first saw Miss 
Ricard’s star in the ascendant, she 
then being a member of Mary Man- 
nering’s company. She remained in 
the support of that actress for three 
consecutive seasons, two of which 
she played Tabitha Drinker in 
“ Janice Meredith ” and the third she was Vi Thompson in “ The Stubborn¬ 
ness of Geraldine,” in which role she scored a personal success of enormous 
proportions. The season following Miss Ricard made a radical change in her 
professional environment, invading the musical comedy field, making a most 
bewitching and engaging Contrary Mary in “ Babes in Toyland,” but the very 
next season she was back in the drama again, being highly successful as the 
creator of the athletic girl, Bessie Tanner, in Ade’s “ The College Widow.” 
The two years following this she was conspicuously placed in several rather 
varied productions, such as “Mary Versus John,” at the Manhattan Theatre; 
a brief plunge into vaudeville; “ The Three Graces,” a Chicago musical 
production; as Hilda Wangel in a special matinee of Ibsen’s “The Master 
Builder,” at the Madison Square Theatre; the title role in “ Matilda,” at 
the Lincoln Square; and as Alta Horton in “ The Girl in White,” in Boston. 
The season of 1907-08, she appeared first on tour with Wright Lorimer in 
the leading ingenue role in “ The Quicksands,” and was then seen at the 
Madison Square with Katherine Grey in “ The Reckoning,” later creating 
the role of Kate West in “ Girls,” at Daly’s. Miss Ricard has won her way 
into public favor without any blare of publicity trumpets, the artist 111 her 
being paramount always, and her legion of admirers will rejoice at the 
knowledge that she will become a stellar light just as soon as the proper 
play is forthcoming. 



19 




Bertha Shalek 


January 2 

DERTHA SHALEK is rapidly coming to the front as an operatic singer 
of most promising attainments, and the chances are greatly in her favor 
of achieving a permanent place among the leading singers of the day. 
During the short time she has been before the public she has upheld a 
most praiseworthy standard, one which reflects only credit upon so con¬ 
scientious an artist. A native of Chicago, but educated in New York City, 
Miss Shalek, after a thorough course of musical study, made her stage 
debut on June 8, 1903, with the Williams Opera Company in Providence, R. 
I., her first role being Patti-Sing in “ The Mikado.” She next played Letitia 
Fairfax in “ Dolly Varden ” on tour, the year following making her New 
York debut at the Lyric Theatre with De Wolf Hopper in “ Happyland.” 
The season of iyou-07, Miss Shalek appeared on the Pacific Coast with the 
Stewart Opera Company in “ Babette,” “The Two Roses” and “Dorothy,” 
afterward becoming a member of the Van den Berg Opera Company, at the 
West End Theatre, her repertoire of roles being the title part in “ Carmen,” 
Seibel in “ Faust,” the Queen of the Gypsies in “ The Bohemian Girl ” and 
Lola in “ Cavalleria Rusticana.” She began the season of 1907-08 as prima 
donna in “The Yankee Regent,” touring the West, but retired from this 
company after a few weeks, and joined the Joseph Sheehan Opera Company, 
at the Odeon Theatre, St. Louis, Mo. In the spring of 1908, she sang leading 
roles with the Aborn Opera forces in the principal Eastern cities. . 


cTf wfc® 

4* 


January 3 Fuller Mellish 

/^NE of the most thoroughly capable actors ever imported from England, 
Fuller Mellish, to all appearances, has permanently cast his lot with 
American theatricals, having been actively engaged in our midst for the 
past six years. And as actors of his fine calibre are not to be found every 
day, we should be grateful accordingly. The son of the well-known English 
actress, Rose Leclercq, Mr. Mellish began his stage career in 1881, appear¬ 
ing during his first years behind the footlights in the support of his 
mother. He joined Sir Henry Irving’s company July 8, 1884, accompanying 
that actor upon his second tour of this country, the season of 1884-85. Upon 
returning to England, Mr. Mellish was identified with many important pro¬ 
ductions, appearing principally with such stars as Ada Cavendish, Mary 
Anderson and Beerbohm Tree. He then re-joined Sir Henry Irving’s forces, 
remaining with him five years, including two American visits. After appear¬ 
ing in London with Marie Tempest in “ English Nell ” and William Gillette 
in “ Sherlock Holmes,” Mr. Mellish returned to the United States, the season 
of 1902-03, supporting Martin Harvey in his repertoire, and he has remained 
here ever since. The next year he appeared in “ Ulysses,” at the Garden, 
and on tour with William Collier in “ The Dictator.” Then came a season 
divided between Mrs. Patrick Campbell in “ The Sorceress ” and Annie 
Russell in “Jimmy the Carrier,” after which he played important parts in 
the support of Richard Mansfield. The season of 1906-07, Mr. Mellish was 
seen with Viola Allen in “ Cymbeline,” and, 1907-08, he was leading man 
with Robert Mantell for a brief time, and then played Rector Knoll in 
“ Rosmersholm,” in Mrs. Fiske’s support, a most finished piece of acting. 


20 


January 4 


Blanche Walsh 


HPHE name of Blanche Walsh has now become one of the most powerful 
A factors in stage circles as an actress of tremendous emotional force and 
unquestioned dramatic strength. She is a New York girl by birth, her 
father being Thomas Power Walsh, well known in political circles. When but 
fifteen years old she made her first stage appearance in “ Siberia,” under 
Thos. McDonough, and this was followed by a three-years’ engagement with 
Marie Wainwright, playing Olivia in “ Twelfth Night,” Zamora in “ The 
Honeymoon ” and Queen Elizabeth in “ Amy Robsart.” She then came to the 
notice of Charles Frohman, who promptly engaged her to create the role of 
Diana Stockton in “ Aristocracy.” She played this role two seasons, and 
the next year, 1894-95, she divided between the lead in “ The Girl I Left 
Behind Me ” and playing opposite Nat C. Goodwin in his extensive reper¬ 
toire. The summer of 1895, she played a round of comedy roles with the 
Bond Stock in Washington. The following season Miss Walsh was in “ The 
Great Diamond Robbery,” later creating a sensation by her forceful por¬ 
trayal of “ Trilby,” and in the spring went to Australia as Mr. Goodwin’s 
leading woman. In November, 1896, she created the lead in “ Heartsease,” 
with A. M. Palmer’s Stock in Chicago. The following January, Miss Walsh 
was seen at the Academy of Music in a melodrama entitled, “ Straight From 
the Heart,” and in April of that year she went to London as leading lady 
with William Gillette in “ Secret Service.” She was next found, the season 
of 1897-98, with Sol Smith Russell in “ A Bachelor’s Romance,” and then 
appeared with the Empire Theatre Stock in “ The Conquerors.” She played 
a special engagement in the spring of 1898 with the Mordaunt-Block Stock 
at the Herald Square Theatre, and her portrayal of Zicka in “ Diplomacy ” 
created a positive sensation. That summer she played leads with a Denver 
stock, and was notably successful as Romeo in “ Romeo’s First Love,” a 
one-act play written specially for her by A. E. Lancaster, of which she is 
now the owner, and which she played several times in Australia as well as 
at benefits in America. For two years Miss Walsh co-starred with Melbourne 
MacDowell in “ La Tosca,” “ Fedora,” “ Cleopatra ” and “ Gismonda,” win¬ 
ning high praise on all sides in these plays. Beginning with the season of 
1900-01, Miss Walsh starred independently, her plays during the ensuing time 
being: 1900-01, “ Marcelle ” and “More than Queen”; 1901-02, “Joan of 
the Sword Hand,” “Janice Meredith,” “The Right to Happiness” and “La 
Madeleine”; 1902-03, “The Daughter of Hamilcar ” and “ Resurrection ”; 
1903-04, “ Resurrection ” ; 1904-05 and 1905-06, “ The Woman in the Case ” ; 
1906-07 and 1907-08, “ The Kreutzer Sonata ” and “ The Straight Road ”—in 
all of which she scored individual successes. 



4L 


’Tis Winter, yet there is no sound 
Along the air 

Of winds along their battleground; 
But gently there 
The snow is falling—all around 
How fair—how fair! 


—Ralph Hoyt. 

21 


Peter F. Dailey 


January 5 


T HE final curtain has fallen upon the career of Peter F. Dailey, and he 
has left behind him an army of admirers who will never cease to regret 
his passing. He was a prince of fun-makers among American come-' 
dians, his unctuous, absolutely original and rather personal form of humor 
being of an exceptionally distinctive variety, and he occupied a niche pecu¬ 
liarly his own in the theatrical world. He had no set rule or method for 

gaining his humorous points, there 
being an air of freedom and aban¬ 
don, touched with a gayety and ex¬ 
temporaneousness, - about everything 
he did behind the footlights. Acting 
was one long, merry jest with him, 
at least it appeared so from “ the 
front,” and he had the art of creating 
laughter down to a fine science. Mr. 
Dailey was a graduate from the va¬ 
riety >tage, for many years being a 
member of a quartette known as 
the American Comedy Four, and he 
did a single specialty for several 
years with the Boston Howard Ath¬ 
enaeum Company. He abandoned 
the variety stage in 1888 to become 
principal comedian with Kate Cas- 
tleton, appearing the next year as 
Le Blanc in “ Evangeline.” He then 
co-starred for three years with James 
T. Powers in “ A Mad Bargain ” and 
“ A. Straight Tip,” and for four 
years headed his own company in 
“ A Country Sport,” “ The Night 
Clerk” and “A Good Thing.” Mr. 
Dailey joined the forces of Weber 
and Fields in 1897, with whom he 
continued three seasons, and his popularity in this organization, on both 
sides of the footlights, was of tremendous proportions. The season of 
1900-01, he resumed starring, continuing two seasons in “ Hodge, Podge 
and Co.” and “ Champagne Charley,” after which he was back at Weber 
and Fields for an equal length of time. The next three years Mr. Dailey 
spent a busy time of it, dividing chiefly among “ A Little Bit of Everything ” 
and “In Newport,” under Klaw and Erlanger; a starring tour in “The 
Press Agent,” under the Shuberts; an appearance with Lew Fields in “About 
Town ”; and in vaudeville. Late in December, 1907, he was seen in Joe 
Weber’s company as De Jollidog in “The Merry Widow” burlesque, which 
role proved to be his last one. He was playing this part in Chicago when 
he contracted a severe cold, which developed into pneumonia, and the end 
came very suddenly, after an illness of less than a week, on May 23, 1908. 
The passing of Peter F. Dailey leaves a distinct void in the burlesque world 
of the American stage, and his memory will long be cherished as one of 
the greatest fun-makers of the present stage generation. 



00 






Adeline Genee 


January 6 

W HEN Adeline Genee made her debut upon the New York stage, one 
well-known critic said, “ Mile. Genee is not a dancer, she is the dance 
itself,” and this is the complete summing up, the absolute epitome, 
of the wonderful art of a wonderful woman. She is the superlative per¬ 
sonification of grace, the true poetry of motion, revealing a knowledge of 
Terpsichore at once fascinating and intoxicating, and her innumerable world¬ 
wide triumphs are merely the just tributes paid 
in homage to the genius of the dance. By birth, 

Mile. Genee is a Dane, her birthplace being 
Aarhus, Yutland, Denmark, and she has been a 
dancer since a child of eight, her only instructors 
being her uncle and aunt, Mr. and Mrs. Alexander 
Genee, the latter being famed some years ago 
as Mile. Zimmerman. Her relatives were owners 
of a theatre in Stettin, Germany, and it was there 
that Mile. Genee made her professional debut, 
being a child of twelve at the time. Her success 
was instantaneous, and was promptly followed by 
further triumphs at the royal opera houses in 
Copenhagen, Berlin and Munich. By this time 
Mile. Genee’s fame had spread abroad, and she 
was engaged as premiere danseuse at the Lon¬ 
don Empire for a term of six weeks. This con¬ 
tract of a month and a half lengthened itself 
to be an engagement of ten consecutive years, 
she being the leading spirit in all of the wonderful 
ballets for which the Empire is .justly famed. 

Three of her greatest and most recent successes 
were in the ballets of “ Cinderella,” “ Coppelia ” 
and “ The Debutante.” In 1905, Mile. Genee 
seceded from the Empire for a brief time and 
appeared under George Edwardes at Daly’s in “ The Little Michus ” in a 
specially devised dance of her own in which she wore a long Empire gown. 
But, for the matter of that, this dancing marvel is equally at home in any 
style of costume, from the conventional ballet garb to that of any modern 
mode of dress. She has danced before many royalties, including the late 
King of Denmark, the Emperor of Russia and King Edward and Queen 
Alexandra, being a special favorite of the latter. Finally great induce¬ 
ments were brought to bear to have Mile. Genee appear in America, and 
Klaw and Erlanger luckily captured the prize, arranging wiith Florence 
Ziegfeld that she become the star feature in “ The Soul Kiss,” making her 
debut in January, 1908. All of the enthusiastic praise that preceded her was 
found to be well grounded, and in a single night she won a meed of approval 
that will be steadfast for all time. 





& 




When blood is nipped and ways be foul 
Then nightly sings the staring owl, 

Tu-whit; 

Tu-whoo, a merry note, 

While greasy Joan doth keel the pot. 

—Shakespeare. 




January 7 Verner Clarges 

\ 7 ERNER CLARGES is a character actor of sterling worth, one thor- 
Y oughly well trained in the actor’s art, with a fine knowledge of the 
essential details of his profession, and many excellent things may be 
laid to his credit during the past twenty and more years. He has been 
actively concerned in any number of big Broadway successes, much of 
the responsibility for which has rested upon his shoulders, and it is a 
genuine pleasure to make a record here of some of the chief triumphs that 
he has known. An Englishman by birth. Mr. Clarges has spent most of 
his stage career in this country, and in so busy and active a career as his, 
owing to the limitations of space, one can only mention here a few of his 
most notable engagements. These include: with Rose Coghlan in “Jocelyn,” 
Robert B. Mantell in “ The Veiled Picture,” with Kyrle Bellew and Mrs. 
Potter for several years, appearing in “ The Marriage Spectre,” “ Charlotte 
Corday,” “ Therese Raquin,” “ The Queen’s Necklace,” etc.; in the original 
production of “ The Cherry Pickers ”; with E. S. Willard in repertoire, 
scoring notably with this actor by his creation of the role of Mr. Peckniff 
in “ Tom Pinch ” ; with Joseph Jefferson in repertoire for two years, being 
particularly successful as Sir Anthony Absolute in “ The Rivals ”; with 
Mrs. Le Moyne in “ The Greatest Thing in the World,” Herbert Kelcey 
and Effie Shannon in “ My Daughter-in-Law,” Julia Marlowe in “ When 
Knighthood was in Flower,” Amelia Bingham in “ Lady Margaret,” a two 
years’ engagement with the Proctor Stock, with Jessie Millward in “A 
Clean Slate,” Chauncey Olcott in “ Edmund Burke,” in the Liebler pro¬ 
duction of “ Sir Anthony,” with John Craig’s stock company, in Boston, 
and with Daniel Frohman’s production of “ The Boys of Co. B.,” in which 
he did most excellent work as C. Holbrook Allen. Certainly to Mr. Clarges is 
due all manner of praise for the above record, containing as it does only 
a few of his achievements, and it is an easy thing to understand his popu¬ 
larity with our amusement-loving public. 


4 ? # 


When now, unsparing as the scourge of war, 
Blasts follow blasts and groves dismantled roar; 
Around their home the storm-pinched cattle lows, 
No nourishment in frozen pasture grows; 

Yet frozen pastures every morn resound 
With fair abundance thundering to the ground. 

—Bloomfield. 


24 


Grace Van Studdiford 


January 8 

W OULD that the American stage were richer in prima donnas of the 
calibre of Grace Van Studdiford. All too rarely nowadays are we 
favored with singers with the range and purity of tone equal to hers, 
and it is greatly to be deplored that her recent opportunities have hardly 
been commensurate with her talents and ability; at least, her scope has 
been greatly restricted. In reviewing Miss Van Studdiford’s career, it is 
really remarkable the progress that 
she has made within comparatively 
so short a time. She is an Indiana 
girl by birth, her birthplace being 
North Manchester, and she made 
her professional debut with a sum¬ 
mer opera company at the Schiller 
Theatre, Chicago, her first part be¬ 
ing Minna in “ The Black Hussar,” 
being billed under her maiden name 
of Gracia Quive. She early attracted 
the notice of Messrs. Barnabee and 
MacDonald, and for one season sang 
the second soprano roles with the 
Bostonians. Miss Quive then be¬ 
came the wife of Charles Van Stud¬ 
diford, a St. Louis millionaire, and 
the stage knew her not for a time,. 

The season of 1899-00, owing to the 
financial reverses of her husband, 
she resumed her professional career, 
being billed now as Grace Van Stud¬ 
diford, and was prima donna wit 1 " 

Jefferson De Angelis in “ The Jolly Musketeer,” winning high praise from all 
the musical critics, for during her brief stage absence she devoted herself 
assiduously to vocal study. The next season Miss Van Studdiford came 
prominently before the New York public as one of the prima donnas of the 
Savage-Grau English Grand Opera Company at the Metropolitan Opera 
House, her repertoire embracing: Marguerite ip “ Faust,” Michaela in “ Car¬ 
men,” Felina in “ Mignon,” Leonora in “ Trovatore,” Fleur-de-Lys in 
“ Esmeralda,” the title role in “Martha,”, Yum-Yum in “The Mikado” and 
Josephine in “ Pinafore.” After this engagement she was a vaudeville head¬ 
liner for a time, and then came two seasons as prima donna with the Bos¬ 
tonians, specially creating the name part in De Koven and Smith’s opera of 
“ Maid Marian.” The season of 1903-04, Miss Van Studdiford created a 
veritable sensation when she made her debut as a star in “ Red Feather.” 
Her success was instantaneous and she was readily conceded to be the fore¬ 
most light opera singer on the stage. Two seasons were devoted to “ Red 
Feather ” and then came a tour in the opera of “ Lady Teazle.” Finding it 
impossible to secure a suitable opera for starring purposes, Miss Van Stud¬ 
diford has been a star feature in the principal vaudeville theatres for the 
past two years, being one of the highest salaried artists in that line of work. 
Brilliant and distinguished singer that she is, here’s the hope that the time 
is not far distant when she will once again take her rightful place among 
our leading operatic stars. 





John Ryan 


January 9 


I T is only within the past year or so that John Ryan has risen to the 
dignity o£ his present name, for before that he was numbered among our 
most successful boy actors, answering to the more juvenile name of 
“Jack.” But Father Time is just as implacable a taskmaster in the stage 
world as elsewhere, even more so, in all probability, and, with the advent 
of further years and experience, Master Jack Ryan has now adopted the 
more serious and dignified caption of John. This young fellow has been 
before the public over half his life, his stage career covering about ten 
years in all, and he has met with far more than the average success. He 
is the offspring of theatrical parents, Mr. and Mrs. William F. Ryan, his 
father having been a member of the Hoyt and McKee forces for ten years, 
while in recent seasons both father and son have been associated with much 
the same attractions. Young Mr. Ryan began his theatrical career in the 
title role in “ Little Lord Fauntleroy,” which he played most successfully 
at the age of eight, followed by a term as Sir Arthur May in “ Rosedale.” 
The season of 1900-01, he played Little Aulus in the Whitney and Knowles 
production of “Quo Vadis,” after which he was seen in the brief produc¬ 
tion of “ Justice,” on tour. In the fall of 1902, he created the role of Joe 
Harper in Klaw and Erlanger’s production of “ Huckleberry Finn,” and then 
came a. season as Jimsie Warren in the melodrama, “The Little Church 
Around the Corner.” Mr. Ryan then returned to the Klaw and Erlanger 
forces, and for three consecutive seasons was seen in the role of Bert 
Hopkins in “ Home Folks.” The season of 1907-08, he made a radical 
change in his professional field, not only becoming a full-fledged adult 
actor, but invaded the musical comedy world, playing Sing Song, a China¬ 
man, in Cohan and Harris’ production of “ Little Johnny Jones,” on tour. 





Erminie 


January 1 0 



A N interesting figure in the light opera world, one who takes most flir- 
tatious chances with professional caste by moving back and forth, just as 
the chance offers, between small bits and leads with an ease and facility 
almost hard to grasp, Erminie Earle has had both a busy and interesting 
career and in several instances she has done most praiseworthy work, show¬ 
ing a lack of opportunity, rather than talent, in proof of her failing to attain 
leading parts permanently. A native of Louisville, Ky., Miss Earle, whose 
real name is Irma Earle Boulware, first attracted attention in stage circles 
when she played at the Casino in a minor bit in “ In Gay New York.” She 
then appeared at this same playhouse in “ The Belle of New York,” with 
which piece she remained three years, including the long run at the Shaftes¬ 
bury Theatre, London. Miss Earle liked London, and the Londoners liked 
Miss Earle, so she remained there several years, principally singing in the 
music halls, though in December, 1901. she appeared at the Globe Theatre in 
a musical piece entitled “ Hidenseek.” Miss Earle returned to her native 
land in the spring of 1903, appearing at the Criterion Theatre with James 
T. Powers in “ The Jewel of Asia.” The season of 1903-04 and also the 
season following, she played the role of Josey May in “ The Runaways,” in 
which part she succeeded Fay Templeton. Miss Earle then spent a year 
in Joe Weber’s company, playing in “ Higgledy Piggledy ” and “Twiddle 
Twaddle,” and in the spring of 1908 she was rather inconspicuously cast in 
the production of “ The Hotel Clerk,” in Philadelphia. 


January 1 1 Elfie Fay 

c LFIE FAY, delightful and inimitable comedienne that she is, has every 
■I— 1 reason to feel proud of the professional position she has won for her¬ 
self,- quite alone and unaided, solely upon the strength of her talents 
alone, and she holds her own with the theatregoing public to a degree 
wonderful to behold. By methods wholly original and unique, with a won¬ 
derfully developed sense of humor, she has climbed to the top pinnacle of 
public favor, her really striking 
initiative spirit finding an outlet by 
almost daring originality and sheer 
cleverness. It is probably only the 
most natural thing, however, that 
the daughter of so famous a player 
as the late Hugh Fay should make 
her mark in the stage world, too, 
and the public that worshiped at 
her father’s shrine a few years ago 
has now turned to pay homage to 
this brainy, ambitious girl. It was 
in the Hoyt forces that Miss Fay re¬ 
ceived her early stage training, ap¬ 
pearing in “ A Milk White Flag ” 
and “ A Day and a Night.” It was 
on February 26, 1900, at the Victoria 
Theatre, that she became famous in 
a night, playing quite a minor role 
in “ Mam’selle ’Awkins,” but by her 
merry capers and antics she made a 
tremendous hit, quite overshadowing 
the principals, and from that time 
forth the name of Elfie Fay has been known upon every hand. She soon 
made her debut upon the vaudeville stage, doing a highly diverting turn as 
the Sousa Girl. By this time Miss Fay’s fame had spread across the Atlantic 
and she spent the season of 1901-02 in Europe, appearing in London with 
Henry E. Dixey in “ The Whirl of the Town,” and in a special revival of 
“ The Belle of New York.” She also appeared in the music halls, scoring a 
tremendous triumph, later winning further glories in Paris, Berlin and Buda- 
Pesth, in the last mentioned re-appearing in “ The Belle of New York.” 
Returning to this country, Miss Fay was seen in vaudeville for a long time. 
In the spring of 1904, she was leading lady in “ The Southerners,” at the 
New York Theatre, and the next year was seen at the Colonial in “ The 
Athletic Girl,” and in Chicago and Boston in a piece called “ Kafoozelum.” 
The season of 1905-06, Miss Fay starred at the head of her own company in 
the musical comedy, “ The Belle of Avenue A,” winning any amount of 
added glories, and she could have held a permanent place among our stellar 
lights,—it’s hers for the asking even now,—had not the blandishments of 
vaudeville proven too strong to resist, and for the past two seasons she has 
been a headliner attraction in our leading vaudeville theatres. Miss Fay, 
with her dainty, graceful, girlish personality, is a keen delight to watch 
behind the footlights, and her happy faculty of bringing forth an act of 
absolute originality makes her name a glad addition to any bill. 






January 1 2 


Emma Littlefield 


P MMA LITTLEFIELD occupies a most conspicuous position upon the the- 
atrical horizon as an actress of soubrette roles, her petite, graceful figure 
being particularly well suited to just such parts. She is comparatively a 
new face on the Broadway stage, but her rise in public favor has been a prompt 
and speedy one. Miss Littlefield is a New York girl by birth, a graduate of the 
public schools, and her stage career covers about six years in all. She made 
her debut with John B. Wills in the musical farce “ In Atlantic City,” fol¬ 
lowed by a season in the soubrette lead in “ Town Topics.” She then played 
Kitty Starlight in A. Q. Scammon’s production of “ Side Tracked,” and for 
quite a time held forth successfully in vaudeville. In 1903, she joined forces 
with Victor Moore in his vaudeville sketch, “ Change Your Act,” and her 
acting of the pathetic, rather dilapidated Western soubrette in this skit was 
a gem of its kind and was highly praised upon all sides, this proving her 
to be a character comedienne of rare talent. Miss Littlefield next appeared 
in the support of Fay Templeton, playing Flora Dora Dean in “ Forty-five 
Minutes from Broadway,” and when Mr. Moore embarked upon a stellar 
career, in the fall of 1907, she having become Mrs. Moore in the meantime, 
she was seen with him in the role of Isabelle McFadden in “ The Talk of 
New York,” doing all she possibly could with a rather colorless role. She 
is a sincerely earnest, ambitious little actress, always endeavoring to give the 
public the very best of her talents, and as her abilities lie in a direction in 
which all too few actresses can capably hold their own nowadays, small 
wonder that she is now high in public favor. 






Albert Mildenberg 


January 


A LBERT MILDENBERG, one of our youngest and most promising com- 
posers, has accomplished the seemingly impossible, and has had a grand 
opera accepted for a hearing on the European stage. This is a dis¬ 
tinction never before conferred upon an American composer, and Mr. Milden¬ 
berg, who is only in his early thirties, by the way, is naturally elated at being 
the recipient of such honors. The opera, which is entitled “ Michaelo,” based 
upon the life of Michelangelo, is to be produced during the season of 1908- 
09 at the Royal Opera, Vienna, with later productions in Munich, Prague, 
Salzburg and Budapest. If it is any kind of a success, there is every reason 
to believe that it will be given a hearing in this country the year following. 
Mr. Mildenberg was born in Brooklyn, N. Y., and all his life long has been 
interested in music and musical affairs. He studied under Paul Hermann 
and Rafael Joseffy, and for some years was actively engaged in concert 
work. More recently he devoted himself exclusively to composing, being 
sponsor for several songs and piano compositions. He has also written 
two light operas, “ Princess Delft ” and “ The Wood Witch,” which latter 
was produced at the Carnegie Lyceum on May 25, 1903, for a trial hearing 
of several performances, with Helena Frederick in the title role. Mr. Mil¬ 
denberg has lived abroad for the past year and a half, having composed 
“Michaelo” during his stay on the other side, and he has several more 
grand operas in abeyance. His is a most interesting case, being a pioneer 
among our native music writers, and the outcome of his experiment will 
be awaited eagerly. 


28 


January 14 


Evie Greene 


A N admirable artiste is Evie Greene, beautiful and talented, with a most 
exquisite soprano voice, and greatly to be envied is the London public 
in that most of her work is confined exclusively to that city. She has 
participated in any number of big musical successes in the British capital, 
being almost a “ mascot player,” as every piece in which she has appeared 
has always registered a big triumph. Miss Greene was born in Ports¬ 
mouth, England, and began her stage career when a youngster of fourteen, 
appearing at the Aquarium, Yarmouth, as a dancer in “ Marjorie.” After 
devoting some time to the cultivation of her voice, she toured through 
the provinces for several years, playing the leading roles in “ The Gay 
Parisienne,” “ The New Barmaid ” and “ Billy.” Miss Greene made her 
debut before the London public on April 5, 1899, at the Lyric Theatre, as 
Prince Carlo in “ L’Amour Mouille,” scoring a big success, and from then 
on she has been one of the most popular of London’s operatic stars. Later, 
in 1899, she created Dolores in “ Florodora,” also at the Lyric, and in 1901 
she appeared at the Apollo in the title role in “ Kitty Grey.” The year fol¬ 
lowing Miss Greene originated the role of Nan in “ The Country Girl,” at 
Daly’s, playing this part two years, after which she returned to the Lyric 
and scored a big triumph as “ The Duchess of Dantzic.” It was in this 
same opera that Miss Greene made her bow before an American audience, 
appearing at Daly’s on January 16, 1905, and she fulfilled every possible 
expectation, proving to be a prima donna worthy of most enthusiastic praise. 
Since returning to London she has scored three notable hits, appearing at 
the Prince of Wales Theatre on January 13, 1906, as Molly Montrose in 
“ The Little Cherub ”; at Daly’s on October 27, of the same year, as Lodoiska 
in “ The Lady Dandies ”; and at the Gaiety on April 25, 1908, as Consuelo in 
“ Havana.” 




Every winter 


When the great sun has turned his face away, 

The earth goes down into a vale of grief, 

And fasts and weeps and shrouds herself in sables, 
Leaving her wedding garments to decay— 

Then leaps in Spring to his returning kisses. 


—Charles Kingsley. 


29 


Bruce McRae 


January 1 5 

B Y a series of most admirable portrayals within the last eight years, Bruce 
McRae has come to be regarded as one of the most capable actors on 
the American stage, and to-morrow’s stage history will unquestionably 
find his name enrolled among the stellar ranks, to which distinction he has 
long been entitled. Mr. McRae was born in London. England, of Scotch 
and English parents, and at sixteen went to New Zealand and engaged 

in cattle ranching. Later, adopting 
the profession of surveyor, he spent 
five years in Australia, opening up 
Government reservations for pioneer 
settlers. In 1890, he came to this 
country, took charge of a cattle 
ranch at Fort Laramie, Wyoming, 
and a year later made his first ap¬ 
pearance on any stage, supporting 
Elsie de Wolfe and Forbes Robert¬ 
son in “ Thermidor ” at Proctor’s 
23d Street Theatre. The two years 
following this he appeared in “ Aris¬ 
tocracy,” and then spent one season 
in “ Shenandoah.” The season of 
1895-96 Mr. McRae played in “ The 
Fatal Card,” and the following year 
supported Miss Olga Nethersole, 
playing the leading juvenile roles in 
“ Camille,” “ Denise,” “ Frou-Frou,” 
“ The Wife of Scarli ” and “ The 
Daughter of France ”; after which 
came two years as leading man with Herbert Kelcey and Effie Shannon 
in “ A Coat of Many Colors ” and “ The Moth and the Flame.” Mr. 
McRae then created the role of Dr. Watson in “ Sherlock Holmes,” 
with William Gillette, followed by two seasons as principal support to Miss 
Julia Marlowe, playing Captain Trumbull in “Barbara Frietchie” and orig¬ 
inating Charles Brandon in “ When Knighthood was in Flower.” Then 
came five years as leading man with Miss Ethel Barrymore, appearing with 
that actress in: “ Carrots,” “ A Country Mouse,” “ Cousin Kate,” “ Sun¬ 
day,” “ A Doll’s House,” “ Alice Sit-by-the-Fire,” “ Captain Jinks,” “ The 
Silver Box ” and “ His Excellency the Governor.” During this time Mr. 
McRae also participated in a number of special productions, such as the 
Miller-Anglin revival of “ Camille,” the matinee of Berton’s “ Yvette,” “ The 
Embarrassment of Riches,” at Wallack’s, and as leading man of the Bellows 
Stock Company, at Elitch’s Gardens, Denver, for the summer of 1906. The 
following summer was spent in Chicago with “ Genesee of the Hills,” support¬ 
ing Edwin Arden. In the fall of 1907, Mr. McRae left Miss Barrymore and 
appeared first in “ The Step-sister,” in December was engaged by Harrison 
Grey Fiske to support Mrs. Fiske in Ibsen’s “ Rosmersholm ” and in the 
summer of 1908 toured the Pacific coast with “ The Thief,” playing Kyrle 
Bellew’s role. M’r. McRae is a nephew of Sir Charles Wyndham, the 
eminent English actor, and of the late Bronson Howard, the American 
playwright. 



30 




January 16 Alice Fischer 

T" 1 HOUGH Alice Fischer made her greatest reputation behind the foot- 
A lights as an actress of emotional and adventuress parts, she has now 
undergone the transformation of becoming a comedienne with a brisk, 
breezy, boisterous manner peculiarly her own, and, while lacking in any 
delicacy or subtlety, she always proves most entertaining and diverting, being 
highly popular with our theatregoers. Miss Fischer was born in Terre Haute, 
Ind., and she began her bread-and-butter struggle as a school teacher. A 
taste of amateur theatricals turned her thoughts towards a stage career, and 
she came to New York and studied under Franklin Sargent. Miss Fischer 
made her debut in the middle eighties with Frank Mayo in “ Nordeck,” after¬ 
ward supporting Joseph Jefferson. She scored her first big success, the 
season of 1888-89, as the adventuress, Minna, in “ Little Lord Fauntleroy,’ , 
and for the next ten years was identified with roles of this sort, some of her 
earlier successes being in “ The Canuck,” with McKee Rankin, in “ The 
Clemenceau Case,” “ Nero,” “ Across the Potomac,” “ The White Squadron ” 
and with the Empire Theatre Company in “ The Masqueraders.” The season 
of 1895-96, Miss Fischer was Vivian Daville in ” The Sporting Duchess,” 
the next season playing Zephyrine in “ The Two Little Vagrants,” and then 
came a season in " The Proper Caper,” “ The Salt of the Earth ” and with 
William H. Crane in “His Honor the Mayor.” She then played Poppea in 
“ Quo Vadis,” was in “ Unleavened Bread,” and “ Betsy Ross,” and with the 
Lyceum Theatre Company in “ Frocks and Frills.” Miss Fischer made 
her stellar debut the season of 1902-03 in ‘‘ Mrs. Jack,” appearing the next 
year in “What’s the Matter with Susan?” She then made her debut in 
musical comedy, appearing in “ Piff, Paff, Pouf,” starred for a time in “ The 
School for Husbands ” and has since appeared in two other musical pieces— 
“ Coming Thro’ the Rye ” and “ Funabashi.” 


January 1 7 Janet Achurch 

J ANET ACHURCH, an actress who at her zenith made her greatest appeal 
in what may be called in the vernacular of the day, the “ high-brow 
drama,” has not been as conspicuous in recent seasons as during her early 
career when, as a disciple of the Ibsen drama, she won considerable note 
on both sides of the Atlantic. An Englishwoman by birth, Miss Achurch 
began her theatrical career in 1883, starting out as a star in the British 
provinces in “ The New Magdalen ” and “ Lady Audley’s Secret.” She then 
played Shakespearean leads in the support of F. R. Benson, and appeared 
at the London Haymarket with Beerbohm Tree. In 1889, Miss Achurch 
played Nora in “ A Doll’s House.” at the Novelty, being the first actress to 
play this role on the English-speaking stage. After this she starred in 
repertoire—Norah, Hedda, Lady Macbeth, etc.—in Australia and India. Miss 
Achurch made her debut in America, at the Madison Square Theatre, on June 
3, 1895, playing Stephanie in “ Forget-Me-Not,” afterward bringing out 
“ A Doll’s House,” but her season here was not a success, and she returned 
to England. She starred for several years in the provinces, playing “ A Doll’s 
House,” “ Hedda Gabler,” “ Little Eyolf,” etc., and also made a stellar trip 
through Egvpt. Miss Achurch has not been particularly conspicuous, pro¬ 
fessionally speaking, in late years, though on October 7, 1907, she appeared 
at the Queen Theatre, Manchester in a historical play, “ Essex,” in which 
she played Elizabeth. 


31 


January 18 Olga Nethersole 

A S an exponent of the erotic drama in its most extreme form, Olga 
Nethersole stands almost in a class by herself, having won fame and 
reputation in no less than four countries by her work in a rather 
bizarre repertoire. A few years ago rated as one of the leading 
emotional actresses of the day, it seems rather a pity that within the 
last few years Miss Nethersole has accumulated a most trying lot 
of affectations and mannerisms thait have so marred her work that 
there is little left of the real thing in her acting nowadays. However, she 
still has the faculty of rising to splendid emotional heights in her “big” 
scenes, and, so long as this remains a part of her, there is hope that she will 
overcome her affectations and absorbing sejf-consciousness in her other acting. 
Miss Nethersole was born in Kensington, London, being of Spanish descent, 
and was educated in England and Germany. Upon the death of her father, 
she was compelled to make her own way in the world, and decided upon the 
career of an ^actress, having had some amateur experience. She made her 
debut in the spring of 1887 with Charles Hawtrey in “ Harvest,” touring 
the provinces. In July, 1888, she appeared for the first time before a London 
audience, in “ The Union Jack,” at the Adelphi, was later at the St. James 
in “ The Dean’s Daughter ” and back at the Adelphi in “ The Silver Falls.” 
Miss Nethersole then became a member of John Hare’s forces, with whom 
she remained four years, aside from a period of ten months, when she 
and Charles Cartwright co-starred through Australia. With Mr. Hare she 
appeared in “ The Profligate,” “ La Tosca,” “ A Fool’s Paradise,” “ Diplo¬ 
macy,” etc. After a brief term at the Criterion in “ The Silent Battle,” Miss 
Nethersole leased the Court Theatre, in January, 1894, and produced “ The 
Transgressor.” On October 15, of that year, she made her debut on the 
American stage, at Palmer’s Theatre, in this same piece, and she has made 
nine tours of this country in all, appearing here during the seasons of 
1894-95, 1895-96, 1896-97, 1898-99, 1899-00, 1900-01, 1905-1906, 1906-07 and 
1907-08. The complete list of plays which Miss Nethersole has presented 
in America is composed of “ The Transgressor,” “ Camille,” “ Denise,” 
“ Frou Frou,” “ Romeo and Juliet,” “ The Wife of Scarli,” “ Carmen,” “ A 
Daughter of France,” “ The Second Mrs. Tanqueray,” “ The Termagant,” 
“ Sapho,” “ The Profligate,” “ The Labyrinth,” “ Magda,” “ Adrienne 
Lecouvreur,” “The Awakening,” “The Enigma” and ‘‘ I’Pagliacci.” Be¬ 
tween times in her tours of this country, Miss Nethersole has appeared on 
the London stage in many of the above mentioned plays, as well as in “ The 
Notorious Mrs. Ebbsmith,” “ The Flute of Pan ” and “ The Gordian Knot,” 
and in the spring of 1907 she played a most successful term in Paris in several 
of her famous parts. 


^9 €^9 <5^5 


Up rose the wild old winter-king, 

And shook his beard of snow; 

“ I hear the first young hare-bell ring, 
’Tis time for me to go! 

Northward o’er the icy rocks, 

Northward o’er the sea, 

My daughter comes with sunny locks; 

This land’s too warm for me! 

—Leland. 


32 


January 19 Harry Davenport 

T IARRY DAVENPORT is certainly deserving of every serious considera- 
* * tion at the hands of the theatregoing public, for not only is he a member 
of a most distinguished stage family, but he has long upheld a splendid 
record of professional achievements upon his own account. The son of 
E. L. and Fanny (Vining) Davenport, their ninth and youngest child, Mr. 
Davenport was born in New York City, and when but a youngster of five 
he appeared with his father as the boy in “ Damon and Pythias.” He had 
several years experience as a child actor, including a term in the original 
juvenile “ Pinafore ” company. After attending school, Mr. Davenport 
resumed his stage career in the support of his sister Fanny, originating 
Angellotti in “ La Tosca.” A few of his other engagements during the first 
half-dozen years of his career were: with Edward Harrigan in “ Reilly 
and the Four Hundred,” in the original production of “ Incog,” with Joseph 
Grismer and Phoebe Davies in “ The New South,” in “ The Rainmaker of 
Syria,” at the Casino in “ The Voyage of Suzette,” at the American with 
Frank Mayo in “ Pudd’nhead Wilson,” and in “ Kismet.” After directing 
the stock company at the Girard Avenue Theatre, Philadelphia, for a time, 
Mr. Davenport became a member of the Casino forces, where he appeared 
for three seasons, playing in “ The Belle of New York,” “ In Gay Paree,” 
“ The Rounders ” and “ The Lady Slavey.” Since then Mr. Davenport’s 
engagements have been as follows: season of 1900-01, title role in “The 
Burgomaster ” and with Edna May in “ The Girl from Up There ” ; 1901-02, 
in “ The Liberty Belles ” and “ The Defender ” ; 1902-03, with Ethel Barry¬ 
more in “ A Country Mouse ”; 1903-04, with Sam Bernard in “ The Girl 
from Kay’s ”; 1904-05, and the season following, with Lew Fields in “ It 
Happened in Nordland ”; and for the past two years, aside from a brief 
time in the fall of 1907, when he played in “ Fascinating Flora,” he and Mrs. 
Davenport, known professionally as Phyllis Rankin, have been doing a sketch 
in the vaudeville theatres. 



January 20 Mary Boland 

T N the selection of the leading women for his various productions, Charles 
* Frohman rarely goes amiss, and that he should have placed Mary Boland 
at the head of two of his most important offerings during the season of 
1907-08 shows the- faith and confidence that he has in this actress’ abilities. 
A native of Detroit, Mich., Miss Boland made her stage debut in that city 
on June 24, 1901. with the Pike Stock Company, playing Elinor Burnham 
in “ A Social Highwayman.” She remained with the Pike forces all of the 
season following, being located in Cincinnati, playing a round of juvenile 
roles. The season of 1902-03 she spent in Nashville, Tenn., with the Boyle 
Stock, where she was cast for such roles as Polly Love in “ The Christian,” 
the Duchess of Portsmouth in “ Mistress Nell,” Faith Rutherell in “ The Last 
.Word” and Elizabeth in “Richard III.” Miss Boland appeared on tour 
the next year in “ Sky Farm,” followed by a short term with the Baker Stock 
in Los Angeles. She had a busy time of it the season of 1904-05, fulfilling 
no less than three leading engagements, appearing first with the Imperial 
Theatre Stock in Providence, R. I., then created the role of Doll Silk 
in “ The Lady Shore,” supporting Virginia Harned, and finally became lead¬ 
ing woman with Robert Edeson, playing Dorothy Nelson in “ Strongheart.” 
She continued with Mr. Edeson in this part for over two years, including 
a term at the Aldwych Theatre, London. It was the season of 1907-08 that 
Mr. Frohman secured Miss Boland’s services, she being cast first for the 
role of Dorothy Osgood in “ The Ranger,” supporting Dustin Farnum, and 
after the withdrawal of this piece she was transferred to Francis Wilson’s 
company, playing Lady Rowena in “ When Knights Were Bold,” in both of 
which parts she was quite successful. 


ZeIda Sears 


January 21 

A TRULY inimitable comedienne is Zelda Sears, and with methods wholly 
original and unique she has made a name for herself in the stage 
world of which she has every reason to feel proud. She has fought 
bravely and courageously for the honors that are now hers, and our theatre¬ 
goers are appreciatively responsive in their acknowledgment of her stand¬ 
ing as an artiste. Miss Sears is a Michigan girl 
by birth, having come into the world on a farm 
near a village called Brockway, close to the foot 
of Lake Huron. When a girl of sixteen she be¬ 
came a journalist, serving first on a paper at 
Port Huron, Mich,, and later doing free lance 
work in Chicago. Upon her decision to follow 
a stage career. Miss Sears began at the bottom 
of the stage ladder, serving in the ballet of a 
Broadway musical production. After this came 
several years of good, rugged experience in 
traveling companies and Western stock organiza¬ 
tions, with much study, a lot of hard work and 
very little recognition. It was the spring of 1900 
that found Miss Sears’ professional fortunes tak¬ 
ing a decidedly upward turn, she appearing at 
the Manhattan Theatre in “ Woman and Wine,” 
under William A. Brady. A year later she was 
seen at this same playhouse as Lizzie Brown in 
Clyde Fitch’s “ Lovers’ Lane,” and from that mo¬ 
ment the professional future of Zelda Sears was 
practically assured for all time. Mr. Fitch became 
greatly interested in her work, recognizing at 
once her uncommon gifts as a comedienne, and 
every season since he has written a part specially 
for her in one of his various plays, the following being a complete list 
of her Fitch roles: Lizzie McCall, the Jersey shopper, in “Glad of It”; 
Green, the garrulous maid, in “ The Coronet of a Duchess,” supporting Clara 
Bloodgood; Caroline Green, the physical-culture teacher, in “ Cousin Billy,” 
with Francis Wilson; Genevieve Crespigney, the lovelorn landlady, in “The 
Truth,” with Mrs. Bloodgood; and Lucille Purcelle, the ambitious elocu¬ 
tionist, in “ Girls.” All of these were absolutely inimitable creations, and 
small wonder that both Mr. Fitch and Miss Sears feel equally grateful for 
what each has done for the other. 



rJ k 3 •%> *$» 


Dust on thy mantle! dust, 

Bright Summer, on thy livery of green! 

A tarnish as of rust, 

Dims thy late brilliant sheen; 

And thy young glories, leaf and bud and flower— 
Change cometh over them with every hour. 

—Wm. D. Gallagher. 


34 




Thomas W. Ross 


January 22 

YV 7 TTH a refreshing youthfulness and a delightfully wholesome person- 
ality, Thomas W. Ross is numbered among the most popular of our 
younger stars, and one cannot but wish him better luck in the selection 
of his stellar vehicles. A most unfortunate thing it is that during the five 
years he has shone in a stellar light only one of his plays has met with 
any real degree of lasting success. But Mr. Ross is still young enough to 
hug optimism to his breast and hope for better luck. Born in Boston, Mass., 
he began his stage career in 1894 as a member of the Boston Museum Stock, 
and for exactly seven years he was identified with companies of this sort. 
After a season at the Museum he moved over to the Grand Opera House 
Stock in his home town, playing a season there, too, and then came an 
engagement with similar organizations in Denver and Kansas City. In 1896, 
Mr. Ross was a member of the Avenue Theatre Stock, Pittsburg, and the 
next year was with the Park Theatre Stock, Brooklyn. He then returned 
to Pittsburg as a member of the Grand Opera House Stock, with which he 
remained three years. Mr. Ross made his first hit on the New York stage 
in the spring of 1902, playing Teddy Langham in “ Soldiers of Fortune,” 
supporting Robert Edeson. He made his debut as a star in the fall of that 
year, appearing first in “ On the Quiet ” and then in “ Checkers,” scoring 
a big triumph in the latter piece. He was seen in “ Checkers ” for two 
years, and the season of 1905-06 he produced “ A Fair Exchange.” The next 
year brought forth “ Popularity ” and a revival of “ The Other Girl,” and 
in the spring of 1908 he was seen on tour in a new piece entitled, “ The 
Traveling Salesman.” 


4 s 4 s 


January 23 


Dodson Mitchell 


O NE might almost say in very truth that Dodson Mitchell’s entire stage 
career, certainly the greater part of it, has been passed in the support of 
three of our leading stars—Julia Marlowe, Arnold Daly and Alla Nazi- 
inova. He has appeared, of course, in the support of various other players, but 
it is through his work with this particular trio of favorites that he has become 
best known to our theatre-going public. When Miss Marlowe first came 
before the public as a star in 1887, Mr. Mitchell was enrolled as a member 
of her support, and for thirteen consecutive years he continued as a member 
of her company, playing comparatively small roles- at first, but finally being 
cast for all the important character parts in her repertoire. Upon his dis¬ 
covery that further advancement was impossible with Miss Marlowe, Mr. 
Mitchell appeared with John Drew, the season of 1900-01, as Captain 
Lewis in “ Richard Carvel.” The next season he was with John Mason in 
“ The Altar of Friendship,” finishing the season in “ Arizona,” and the year 
following he played Simonides in “ Ben-Hur.” 1 he season of 1903-04, Mr. 
Mitchell appeared for a brief time in “ Major Andre,” later joining the forces 
of Arnold Daly to play James Morrell in “ Candida.” He remained with 
Mr. Daly three seasons, playing in “ How He Lied to Her Husband,” “ The 
Man of Destinv,” “ You Never Can Tell,” “ John Bull’s Other Island and 
“Arms and the Man.” The season of 1906-07, Mr. Mitchell appeared first 
with Madame Nazimova, playing in “ Hedda Gabler ” and “ A Doll’s House, ’ 
later supporting Mary Shaw in “ Mrs. Warren’s Profession,” and this past 
season, after a brief term with Lulu Glaser in “ Lola from Berlin,” he re¬ 
joined Madame Nazimova, supporting her in the Ibsen plays as well as in 
“ The Comet ” and “ The Comtesse Coquette.” 


January 24 


Margaret Fuller 


A N actress whose work has won considerable favorable comment and who 
displays a fine spirit of sincerity in all her acting, Margaret Fuller is 
a distinct credit to her profession and deserves every possible encourage¬ 
ment. She is a native of New York, but passed all her girlhood in Wash¬ 
ington, D. C. When she decided upon the stage as a life work, Miss Fuller 
went about it in a thoroughly business-like way, leased the Knickerbocker 
Theatre for a single matinee, engaged a company of her own and made her 
debut March 22, 1898, in the title role in “ Camille.” Her temerity had its 
reward, however, for Daniel Frohman promptly engaged and sent her out 
with a touring company in “ The Prisoner of Zenda,” to play the Princess 
Flavia. The season of 1900-01, Miss Fuller was leading woman with 
Maclyn Arbuckle in “ The Sprightly Romance of Marsac,” later appearing 
in “ Unleavened Bread.” The year following she was first with John Mason 
in “ The Altar of Friendship,” and then appeared in Chicago in the melo¬ 
dramas, “ The Price of Peace ” and “ Jim Bludso.” Miss Fuller next played 
a brief term with J. E. Dodson and Annie Irish in “ An American Invasion,” 
and was for three years a member of Eleanor Robson’s support in “ Merely 
Mary Ann.” She began the season of 1906-07 in “ The Judge and the Jury,” 
at Wallack’s, was next with Kyrle Bellew and Fannie Ward in “ An Ameri¬ 
can Invasion ” and then accompanied Miss Ward abroad, playing with her 
at the Waldorf Theatre, London, as Mag in “ In the Bishop’s Carriage.” 
Returning to this country, Miss Fuller appeared on tour during 1906-07 as 
Ruth Carney in “ The Girl who Has Everything,” in the support of Isabel 
Irving. 





\ 7 INIE DALY is a loyal devotee to the art of Terpsichore, and she has 
V built up quite a name and following for herself by her unquestioned 
talents as a dancer. In the realm of vaudeville, to which branch of the 
profession Miss Daly is now lending her time and talents, she occupies a 
happily conspicuous position, and few there are, in her particular line, more 
popular than she. But her skill as a dancer is only to be expected when one 
considers the talented family of which she is a member. The daughter 
of Lizzie Derious Daly, niece of Dan, Timothy, Lucy and Margaret Daly, 
and first cousin to Nellie, of the same ilk, she comes naturally by her grace 
and it is the only to be expected thing that she excels as a dancer. For several 
years Miss Daly and her mother did a joint dancing specialty in the 
vaudeville houses in this country, as well as the leading music halls of the 
European capitals. Nor have her talents been confined exclusively to the 
vaudeville stage by any manner of means. For instance she was Parthenia 
in ‘‘The Southerners,” at the New York Theatre, in the spring of 1904, 
and later in that year appeared at the Casino as Cora Melon in “ Piff, Paff, 
Pouf.” The next year she was seen as Lena in “ The Rollicking Girl,” with 
Sam Bernard, and then she succeeded Ethel Levey as leading woman with 
George M. Cohan, playing Dolly Johnson in “George Washington, Jr.” So 
Miss Daly’s popularity is equally as great in musical comedy as in vaudeville. 


30 


January 26 Paul West 

'T’HE name of Paul West has been more or less identified with theatrical 
^ affairs in this country for the past fifteen years, but he has recently 
come to the fore with considerable import as a playwright and song¬ 
writer. His name has been on Broadway play-bills dozens of times within 
the past five years, and his is a future that is pretty sure to bring a wealth 
of success and prosperity. Mr. West was born in Boston. Mass., and was 
educated at the Boston Latin School and at Peekskill Military Academy. 
From 1888 to 1892 he was engaged in newspaper work in Lawrence, Mass., 
and his native city. The two years following he was press representative 
with the Hoyt forces, after which he served as business-manager for a season 
each with Camille D’Arville, “ The Sphinx ” and Frank Daniels. Mr. West 
took up newspaper work again in 1897 on the New York Evening Journal, 
the following year becoming affiliated with the New York Sunday World, 
with which paper he has remained ever since. As a contributor to stage 
literature, Mr. West has written several hundred musical numbers that have 
been interpolated in various musical plays. Among the pieces for which he 
has been responsible, one finds: “Fad and Folly,” 1902, for Mrs. Osborn’s 
Playhouse; “ The Man from China,” 1904, produced at the Majestic; “ The 
Pearl and the Pumpkin,” 1905, for Klaw and Erlanger; the adaptation 
of “Sergeant Brue,” 1905, for Frank Daniels; “Fascinating Flora,” 1907, at 
the Casino; and “The Love Waltz,” 1908, a pretentious vaudeville offering. 
He also wrote the lyrics for “ The White Hen,” 1907, for Louis Mann, and 
“ The Merry-Go-Round,” 1908, produced at the Circle Theatre. Mr. West 
is most energetic and ambitious, with considerable facile power as a lyric 
writer, and there is no question that his to-morrows hold many bright 
things for him. 


eT* e&e 

s* ft ** 


January 27 Cecil Raleigh 

C ECIL RALEIGH has achieved enviable fame as a dramatist upon both 
sides of the Atlantic, having won his greatest success as a writer of 
high-class melodramas. He has a particularly large following in Eng¬ 
land, though he can scarcely cavil at the amount of success with which he 
has met in this country, either. A native of John Bull’s Island, Mr. Raleigh 
started out in life as an actor, later becoming a theatrical manager and 
finally a journalist and dramatic critic, from which last it was comparatively 
a short* step to playwriting. Among Mr. Raleigh’s plays, with which Ameri¬ 
cans are most familiar, one may mention: “ The Great Pink Pearl,” 1887, 
produced at the Lyceum Theatre; “ The Grey Mare,” 1892, and “ The Guards¬ 
man,” 1893, both written with George R. Sims, and brought out by the Lyceum 
Theatre Company. He has also collaborated with Henry Hamilton in the 
melodramas of “ The Sporting Duchess,” 1895; “ The White Heather,” 
1897; “The Best of Friends,” 1903, all produced at the Academy of Music; 
“The Great Rubv,”T899, at Daly’s; “Hearts are Trumps,” 1900, at the 
Garden; and “Tlie Price of Peace,”*1901, at the Broadway. Another play 
from their joint pen, “ Cheer, Boys, Cheer,” has been produced upon several 
occasions by various stock companies over the country. Mr. Raleigh, along 
with Seymour Hicks, also wrote “ Sporting Life,” 1898, produced at the 
Academy. And, too, he has stood lone sponsor for any number of plays 
that we in this country have never seen. One of Mr. Raleigh’s most recent 
efforts in our behalf was “ Lord Doncaster,” 1907, produced by Lawrence 
D’Orsay, in several Eastern cities, with far from happy results. 


37 


January 28 


Julie Opp 


A CLEVER and brainy actress, and a beautiful woman to boot, Julie Opp 
** has met with a well-deserved meed of success behind the footlights, and 
her career is a splendid example of what pluck, determination and ambi¬ 
tion can accomplish. A New York girl by birth, Miss Opp began life as a 
newspaper reporter, after a convent schooling, serving in the capacity of 
fashion writer upon the New York Recorder. She went abroad to inter¬ 
view celebrities for her paper, which brought her into touch with Sarah 
Bernhardt and Emma Calve, both of whom suggested that she adopt the 
stage as a profession. Nothing loath, Miss Opp accepted the suggestion 
in all seriousness and began her stage career in Paris, in 1896, as one of the 
guests in the ballroom scene in “Camille” in Madame Bernhardt’s com¬ 
pany. She went to London that same year and became a member of George 
Alexander’s company, at the St. James’ Theatre, opening December 2d as 
Hymen in “As You Like It.” later playing Rosalind, owing to Julia Neilson’s 
illness. She then created Mrs. Ware in “ The Princess and the Butterfly.” 
The season of 1897-98, Miss Opp made her debut on the American stage, 
appearing as the Princess Panonina in “ The Princess and the Butterfly ” and 
Belle in “ The Tree of Knowledge.” She returned to London the following 
year, and continued in Mr. Alexander’s support for three years, playing 
Antoinette De Mauban in “ The Prisoner of Zenda,” Rosa Holf in “ Rupert 
of Hentzau,” Mrs. Egerton in “ The Man of Forty,” Annabel East in “ The 
Wisdom of the Wise,” Mrs. Herbertson in “ The Awakening ” and Edith 
Thorold in “ The Wilderness.” Miss Opp was back in America, the 
season of 1901-02, playing Marita in “ A Royal Rival,” in the support of 
William Faversham, and the next year she appeared in London with Mr. 
Alexander as Katherine in “ If I Were King.” She returned to her native 
land late in 1902, and on December 29th, of that year, she married Mr. 
Faversham and has appeared in his support ever since, playing Lady 
Algernon Chetland in “Lord and Lady Algy,” in the spring of 1904; Hilda 
Gunning in “ Letty,” the season of 1904-05; and Lady Diana in “ The 
Squaw Man,” and Donna Teodora in “ The World and His Wife,” during 
1906-07. True to her first profession, Miss Opp frequently dabbles in lit¬ 
erature, and she is the author of a one-act play, “ The House of Pierre,” 
written in collaboration with Kate Jordan, the well-known story-writer and 
dramatist, which was recently produced by Martin Harvey. Talented far 
above the ordinary, Miss Opp has been greatly favored by the fickle god 
of success, and hers has been a career in which her best talents have had 
all possible chance. 




Through the hush'd air the whitening shower descends, 
At first thin wavering; till at last the flakes 
Fall broad and wide and fast, dimming the day 
With a continual flow. The cherished fields 
Put on their winter robe of purest white, 

’Tis brightness all; save where the new snow melts 
Along the mazy current. 


—Thomson’s “ Winter.” 


38 


January 29 Cecil Spooner 

F ITTED by nature, training and the advantage of stage work, Cecil 
Spooner stands to-day the recognized soubrette of America. Her orig¬ 
inal methods and magnetic personality won her immediate attention from 
her first appearance on the stage as a child, her immense popularity being 
a tribute to her artistic acting and clever dancing. She has true emotional 
depths and clever comedy touches that sway her audiences at will from 
tears to laughter. Miss Spooner is 
a member of the famous Spooner 
family, and, along with her sister, 
the brilliant Edna May Spooner, and 
her mother, Mrs. Mary Gibbs 
Spooner, forms a trio conspicuous in 
the annals of the stage. Miss 
Spooner made her Broadway debut 
in the spring of 1903, appearing at 
the head of her own company at 
historic Daly’s in “ My Lady Peggy 
Goes to Town.” Of her own per¬ 
sonal success there was never a 
doubt, the metropolitan press and 
public alike proclaiming her and 
placing her in the permanent stellar 
ranks. This venture brought Miss 
Spooner many offers, out of which 
she accepted one to star under 
Charles E. Blaney in the soubrette 
role of “ The Girl Raffles,” and the 
wonderful result is now stage his¬ 
tory. The past season she attracted general attention by her phenomenal 
business in return dates with “ The Girl Raffles ” and a new piece, “ The 
Dancer and the King.” Mr. Blaney’s two plays, with his dainty star, 
formed a strong magnet that drew crowded houses everywhere, one critic 
saying, “No actress in her particular line now graces the stage capable 
of giving the performance that Cecil Spooner gives of the rollicking, jolly 
soubrette, with the touches of true art that win and hold the approval of 
her public.” Mr. Blaney’s new play for Miss Spooner for the season 
of 1908-09 gives her great opportunities, and the seasons to come will 
unquestionably find this fascinating little star climbing higher and higher 
up the ladder of fame. Miss Spooner is now among the stellar lights to 
stay as a recognized comedienne of power and ability. 



39 




Rose Melville 


January 30 

D OSE MELVILLE has proven a truly striking figure in the theatrical 
* ' world, gaining a name and prestige, plus a wonderful pecuniary reward, 
such as any of her compatriots in the stellar firmament might well 
indeed envy. By her brains, pluck and industry, she has come into a 
reward the like of which no player of her generation has been able to 
equal. The names, Rose Melville and “ Sis Hopkins,” have now become 

synonymous and they are worthy 
representatives of cheer and pros¬ 
perity. Miss Melville, by her por¬ 
trayal of the gawky Hoosier girl, 
has gained the distinction of placing 
an entirely new character behind the 
footlights, one that has become a 
classic of its kind, and has provided 
more laughter and amusement for 
the theatregoing public than any 
other stage character within recent 
years. A native of Indiana herself, 
born in Terre Haute, Miss Melville 
was educated at St. Mary’s of the 
Woods Convent and at Franklin 
College, Indiana. When a girl of 
sixteen she passed directly from 
school to the traveling stock com¬ 
pany managed by her two older sis¬ 
ters, Ida and Pearl Melville, with 
which company she remained one 
year, playing a large variety of sou- 
brette and ingenue roles. She and Ida Melville then formed a com¬ 

pany of their own, playing a repertoire of standard pieces, with which 
they were most successful for two seasons. It was during this time 
that Miss Melville evolved the character of Sis Hopkins and, meeting with 
recognition on the road, she determined to invade New York in this char¬ 
acter. She made her debut at the Garden Theatre in 1894 as a special 
feature in "Little Christopher” and immediately became the talk of the 
town, being given first place as an original, unique comedienne. The two 
years following this she played Dollie Bond in “ The Prodigal Father,” and 
the season of 1898-99 she was a star feature with Mathews and Bulger in 
“ By the Sad Sea Waves,” introducing the character of Sis Hopkins in both 
of these pieces. In the summer of 1899 she played a special vaudeville term 
of eleven weeks on the Keith circuit, six of which were devoted exclusively 
to the Union Square Theatre. Miss Melville then commissioned Carroll 
Flemming to write a play around Sis Hopkins, and, under this title, she 
produced the piece at the Star Theatre. Buffalo, on September 11, 1899, meet¬ 
ing with success from the outset. She has continued uninterruptedly in 
this piece ever since, playing from thirty-five to forty weeks, each season, 
and to ever increasing returns, both pecuniarily and artistically. Miss 
Melville, by her originality and artistic perception, has given to the stage 
a new and wholly original type, one that has proven a boon as a laugh- 
maker, and a fine thing it is that she has been accorded such an enthusiastic 
and permanent meed of public approbation. 



40 




Rupert Hughes 


January 3 1 

'"THOUGH Rupert Hughes has not attained a particularly eminent position 
among American dramatists, he has made several most commendable 
efforts in the playwriting line, several of which just missed fire to so 
slight a degree that one is encouraged to hope that he will yet find himself 
classed among our most successful dramatists. Mr. Hughes was born in 
Lancaster, Mo., and as a boy attended the public schools at Keokuk, la., 
later graduating from Adelbert College. He became editor and special writer 
of several of the leading magazines and for a year and a half was engaged 
in an editorial capacity in London. Mr. Hughes’ first contribution to stage 
literature was almost too sad to recall, but it happened a long time ago and 
has long since been wholly forgotten, the piece in question being “ The 
Bathing Girl,” produced at the Fifth Avenue Theatre in 1895, and ran for 
one performance. While a resident of London, in 1902, he had a play brought 
out entitled “ The Wooden Wedding.” but it never reached this side of the 
Atlantic. His next offering was “ Tommy Rot,” 1902, produced at Mrs. 
Osborn’s Playhouse, and that same year another of his brain-children, “ In 
the Midst of Life,” was brought out by Elita Proctor Otis and the Murray 
Hill Stock, but neither of these enjoyed longevity. He had far better luck 
with “ Alexander the Great,” 1903, produced by Louis James and Frederick 
Warde, but disaster came again with “ The Triangle,” 1906, produced by W. 
N. Lawrence at the Manhattan Theatre. Grace George brought out a play 
of his, “ The Richest Girl in the World,” 1906, and it was most favorably 
commented upon in the cities on tour in which it had a hearing. Mr. Hughes, 
clever and brainy young man, will yet be heard from in no uncertain terms 
as a playwright, in which direction his greatest ambitions lie. The announce¬ 
ment has been made that Madame Nazimova is shortly to bring out a play 
from this writer’s pen, an interesting item, indeed, and ’tis to be hoped, 
both for the sake of the actress as well as the playwright, that a great 
success will be scored to its credit. 


Under the snowdrifts the blossoms are sleeping, 
Dreaming their dreams of sunshine and June, 

Down in the hush of their quiet they’re keeping 
Trills from the throstle’s wild summer-sung tune. 

—Harriet Prescott Spofford. 


41 




JOSEPH JEFFERSON. 


Born, February 20, 1829. 


Died, April 23, 1905. 








February 1 Henry Miller 

pEW American actors are deserving of greater artistic recognition than 
* Henry Miller, and ’tis a fine tribute to the intelligent perception of our 
theatregoing public that he has been conceded a professional position well 
worthy of his talents. Though born in London, England, Mr. Miller passed 
his youth in Toronto, Canada, and it was in that city he began his stage 
career, appearing with the stock at the Grand Opera House, in 1878. A short 
time after, he joined Modjeska’s 
company to play juvenile roles, was 
next a member of Adelaide Neilson’s 
company for two years and was 
then seen in the support of Ada 
Cavendish. Mr. Miller then ap¬ 
peared with Daly’s company in 
“ Odette,” in the spring of 1882. 

The season of 1882-83, he was with 
the Madison Square Theatre Com¬ 
pany in “ Young Mrs. Winthrop,” 
then came a season as leading man 
with Minnie Maddern, an appear¬ 
ance with Agnes Booth in “ The 
Squire,” and later on supported 
Madame Janish in “ Anselma ” and 
Dion Boucicault in the Irish dramas. 

Mr. Miller was one of the original 
members of the Lyceum Theatre 
Company, opening November i, 

1887, and remained with this com¬ 
pany two years, appearing in “ The 
Wife,” “ Sweet Lavender ” and 
“ The Marquis.” He spent the sea¬ 
son of 1889-90 in “ Shenandoah,” and the year following he was seen 
in “All the Comforts of Home,” “Betrothed” and “The Merchant.” 
Mr. Miller was next leading man with Marie Wainwright in “ Amy Rob- 
sart,” in the fall of 1891, and for quite a time after this he figured in a 
number of special productions: “Frederic Lemaitre ” and “Chums,” at 
Hermann’s Theatre, and “ His Wedding Day,” at the Garden. On August 
21, 1893, Mr. Miller became leading man of the Empire Theatre Company, 
a position he held three years, during which time he was seen in “ Liberty 
Hall,” “ The Younger Son,” “ The Councillor’s Wife,” “ Sowing the Wind,” 
“ Gudgeons,” “ The Masqueraders,” “ John-a-Dreams,” “ The Importance 
of Being Earnest,” “ Michael and His Lost Angel,” “ A Woman’s Reason ” 
and “ Bohemia.” In the fall of 1896, he appeared in Chicago at the head 
of A. M. Palmer’s company in “ Heartsease.” Mr. Miller made his debut 
as a star in February, 1897, in “ Heartsease,” the play being rewritten and 
made into a “ costume play ” for his stellar use, and since then he has 
starred in the following pieces: 1898-99, “ The Master,” “ Heartsease,” “ A 
Marriage of Convenience” and “Hamlet”; 1899-00, “The Only Way”; 
1900-01, “Richard Savage”; 1901-02, “D’Arcy of the Guards”; 1902-03, 
“ The Taming of Helen ”; 1903-04, co-starred with Margaret Anglin in 
“ The Devil’s Disciple,” “ The Taming of Helen,” “ Camille,” “ D’Arcy 
of the Guards ” and “ The Aftermath,” and alone in “ Man Proposes ”; 
1904-05, “Joseph Entangled,” and in vaudeville; 1905-06, in “Grierson’s 
Way,” and with Miss Anglin in “ Zira ” and “ Young Fernald ”; 1906-07, 
with Miss Anglin in “ The Great Divide,” and he has continued in this play 
ever since. 






February 2 Bobby North 

DOBBY NORTH, who is rapidly making a name for himself as a Jew 
comedian, was received with glad acclaim by New York theatregoers, in 
the spring of 1908, and by his performance of the role of Morris 
Nosenstein in “ The Merry-Go-Round,” at the Circle Theatre, he has, to all 
appearances, come into permanent approval with Broadway play-patrons. 
It was by his singing of grand opera parodies that he scored his greatest 
success, not only for the cleverness of the lyrics, but for his singing voice, 
which is of exceptional calibre for a comedian, though just why operatic 
comedians are not supposed to have good singing voices is more than I 
could ever understand. Mr. North was born in New York City, and during 
his stage career has gained much excellent experience in the field of vaude¬ 
ville, burlesque and musical comedy. Among a few of his principal en¬ 
gagements during the past five years have been as principal comedian in 
“ The Devil’s Daughter,” in the touring production of “ Fiddle-Dee-Dee,” 
in which he played David Warfield’s original role, and as leading support 
with Murray and Mack in “ A Night on Broadway.” In 1904, Mr. North 
went to San Francisco and joined the stock burlesque company at Fischer’s 
Theatre, where he remained fifteen weeks, appearing in “ The Lucky Stone,” 
“ The Whirl of the Town,” “ The Anheuser Push,” “ Miss Mazuma ” and 
“ Down the Line.” He returned East, and appeared with the Harry Davis 
Musical Travesty Company in Pittsburg, after which he was seen in New 
York, at the Majestic Theatre, as August Yunkle in “ Buster Brown.” He 
has also been seen on tour in Sam Bernard’s role of Max Hoggenheimer in 
“The Girl from Kay’s.” And now that New York has set its seal of 
approval upon him, Mr. North’s future looms bright upon the theatrical 
horizon. 




February 3 Ethel Jackson 

K T OW numbered among our foremost lyric artists and with a personal 
^ ^ following of enviable proportions, Ethel Jackson, to all appearances, 
has a clear professional road ahead of her, one in which she should 
accomplish any number of notable things. An American girl by birth, the 
daughter of Hart Jackson, who adapted “ The Two Orphans ” from the 
French, and Mrs. Jackson, who was a well-known character actress at the 
time of her retirement about eight years ago, Miss Jackson was educated 
abroad, and began her stage career on the other side, too, appearing in 
several of George Edwardes’ musical comedies. She made a hit in Eng¬ 
land as Elsie Crockett, the title role, in “ Little Miss Nobody,” and was 
engaged by Charles Frohman to play the part in this country. Miss 
Jackson made her American debut in this piece in Philadelphia on Septem¬ 
ber 5, 1898, but the play disappeared from public view after a tour of 
three weeks. She finished out this season in “ Hotel Topsy Turvy,” “ On 
and Off ” and the lead in “ The Runaway Girl.” She began the next 
season in “ The Runaway Girl,” was later in “ Little Red Riding Hood,” at 
the Casino, and in “ The Regatta Girl.” at Koster and Bial’s. The following 
season Miss Jackson appeared in “ Vienna Life,” at the Broadway, after 
which she created the lead in “ Miss Bob White.” She then married J. 
Fred Zimmerman, Jr., the well-known theatrical manager, and the stage 
knew her riot for four years, resuming her career in the fall of 1906, as 
prima donna with James T. Powers in “ The Blue Moon.” The season of 
1907-08, Miss Jackson was seen in the title role in “ The Merry Widow,” 
scoring a big personal success, and all should be plain sailing with her 
from now on. 


46 


Hilda Trevelyan 


February 4 


O NE of the great favorites of the London stage and one who has figured 
in any number of successes that have ultimately crossed the Atlantic, 
it seems an odd thing that the name of Hilda Trevelyan should be an 
unknown quantity to American theatregoers. Of a slight, girlish personality, 
suggesting youth and childhood, her services are in demand in London for 
the type of roles in which these characteristics dominate, and she has made 
a place for herself on the English stage that is practically unique and dis¬ 
tinct in itself. Miss Trevelyan first won conspicuous success as Lady Babbie 
in “ The Little Minister,” touring the provinces in this part. She then 
went on the musical comedy stage, and made a name for herself in London 
as Fi-Fi in “ A Chinese Honeymoon ” and Mabel Wiggett in “ Sergeant 
Brue.” To prove her versatility, Miss Trevelyan next scored a success in the 
emotional role of Amanda Affiick in the one-act play, “ ’Op o’ My Thumb,” 
done over here by Maude Adams. She then appeared with John Hare as 
Moira in “ Little Mary” and with Ellen Terry, as Leonora Dunbar in “Alice 
Sit-by-the-Fire.” In the London production of “ The Prince Chap ” she 
played Phoebe Puckers,” later appearing with Marion Terry as Sarah in 
“ Peter’s Mother.” She was seen at the Duke of York’s Theatre, in March, 
1908, as Tweeny in the revival of “ The Admirable Crichton.” Miss Trevel¬ 
yan also created the role of Wendy Moira Angela Darling in the original 
production of “ Peter Pan,” at the Duke of York’s in 1904, and she has 
played this same role in each yearly revival of this piece, around Christmas 
time, being one of the few members of the original cast upon whom this 
distinction has been conferred. 





Edmund 


February 5 


E DMUND ELTON is rapidly coming to the fore fhese days as an actor 
of exceptional power and virility, one whose best days are yet before 
him and who is in every way fit and prepared to meet his opportunity. 
There is a force and distinction about his acting that is most convincing, 
and, as his stage training has been of the best, there is every reason to 
expect most excellent things of him. One of Mr. Elton’s earliest successes 
was as Percy Vere in a touring company of “ A Black Sheep,” the season 
of 1899-00, and the year following this he appeared with a similar company 
in “ The Christian,” playing Brother Paul. Beginning with the season of 
1901-02 and for four years in all, Mr. Elton was identified with stock organ¬ 
izations in Philadelphia, one season with the Girard Avenue Stock and three 
with the Forepaugh Company. He was then leading man with Eugenie Blair 
for a season, playing Torvald Helmer in “ A Doll’s House, ’ Bill Sikes in 
“ Oliver Twist ” and Archibald Carlyle in “ East Lynne.” He divided the 
next season between “ Before and After,” playing Dr. Latham, and was at 
the New York Theatre as Wilton Struve in “The Spoilers.” The season 
of 1907-08, Mr. Elton appeared on the road for a few weeks in “ Before and 
After,” later appearing at the Astor Theatre as Lieutenant Dodd in “ The 
Secret Orchard,” and was also seen on tour in the support of Margaret 
Anglin, playing Dr. William King in “ The Awakening of Helena Richie. 
The summers of 1906-07-08, Mr. Elton appeared with the Hunter-Bradford 
Stock in Hartford, Conn., and Springfield, Mass. 


47 


Essex Dane 


February 6 

T^OLLOWING in the wake of so many of her professional brethren, Essex 
*■ Dane, one of England’s popular actresses, has been associated with stage 
affairs in this country for nearly three years, and she has proven a worthy 
addition to American theatricals. Her opportunities, however, have been of 
a rather meagre sort, but she has made an excellent showing with the 
chances at hand. Miss Dane was born in London and was educated 
at the London Collegiate School and at the Royal Academy of Music, at 
which latter she was a pupil for five years, studying vocal culture. She 
carried off six medals at this school, being particularly successful in the 
title role in “ Carmen.” Miss Dane began her stage career in 1891, acting as 
understudy to Mrs. Patrick Campbell in melodramas, at the Adelphi. She 
won her greatest fame in England in provincial touring companies, her most 
important engagement in this field being as leading woman with Osmond 
Tearle, in Shakespearean repertoire, in the title role in “ Zaza,” which part 
is her favorite one, as Donna Roma in “ The Eternal City,” and Elizabeth 
in “ Miss Elizabeth’s Prisoner.” Miss Dane made her debut on the American 
stage on January 22, 1906, playing Lady Clementina Desborough in “ The 
Fascinating Mr. Vandervelt,” with Ellis Jeffreys, at Daly’s Theatre. The 
fore part of the season of 1906-07 she was seen at the Liberty Theatre in 
Eleanor Robson’s support, playing in “ Nurse Marjorie,” “ Susan in Search 
of a Husband” and “ The Girl Who Has Everything.” On February 8, 
1907, Miss Dane married Arthur Lewis, the well-known actor, and has not 
appeared behind the footlights since, though she has made no announce¬ 
ment of her retirement from the stage. 



February 7 Robert Mantell 

A FTER many years of patient waiting and not a few hardships and dis- 
* appointments, Robert Mantell has now come to be looked upon as 
the foremost interpreter of Shakespearean roles on the American stage 
to-day. His is a large and enthusiastic following and his repertoire is 
really a formidable one in size. Mr. Mantell was born in Ayrshire, Scotland, 
passing his boyhood days in Belfast, Ireland. He started out as an actor 
on October 21. 1876, at the Theatre Royal, Rochdale, Lancashire, England, 
with George Clarke in “ Arrah-na-Pogue.” He came to America two years 
later, appearing in the support of Modjeska in repertoire, followed by a 
year with George Knight in “ Forbidden Fruit.” Mr. Mantell then returned 
to England, and for two years appeared in the support of Ellen Lancester 
Wallis in Shakespearean repertoire. Returning to the United States in 1882, 
he appeared in “ The World” and “ The Romany Rye,” later playing Louis 
in “ Fedora,” with Fanny Davenport. The season of 1884-85, he was in 
“Called Back” and “ Dakolar,” with a return to Miss Davenport’s com¬ 
pany the next year. Mr. Mantell made his stellar debut in the fall of 1886, 
and has continued at the head of his own company ever since, having pro¬ 
duced the following romantic pieces, among others: “Tangled Lives,” 
“ Monbars,” “ The Corsican Brothers,” “ The Marble Heart,” “ The Lou¬ 
isianian,” “ The Face in the Moonlight,” “ The Veiled Picture,” “ A Lesson 
in Acting,” “ The Husband,” “ The Queen’s Garter,” “ Parrhasius,” “ The 
Lady of Lyons,” “ The Dagger and the Cross,” “ Richelieu,” “ A Gentleman 
from Gascony,” “A Secret Warrant,” “The Free Lance” and “The Light 
of Other Days,” while his Shakespearean repertoire includes: “ Hamlet,” 
“ Othello,” “ Romeo and Juliet,” “ Richard III.,” “ King Lear,” “ Macbeth,” 
“The Merchant of Venice,” “Julius Caesar” and “King John”—certainly 
a proud list of plays that do Mr. Mantell every credit. 


48 



Lotta Faust 


February 8 

L OTTA FAUST, a foremost figure among our musical stage favorites, 
is entitled to every possible meed of praise and adulation for the position 
she has won in the theatrical world within so short a space of time and 
at so early an age. Although only in her middle twenties, she has been 
steadily progressing each season, and with each new engagement has taken 
a professional step forward, until she is now well upon the highroad to 
stellar honors, the only-to-be-expect- 
ed goal for such a talented and 
clever girl. Miss Faust is a Brook¬ 
lyn girl by birth, and she was 
scarcely out of short dresses when 
she began her stage career, making 
her debut in 1897 in “ The Sun¬ 
shine of Paradise Alley.” This was 
her first and only experience in the 
“ legitimate ” drama, for she soon 
realized that her best opportunities 
were to be found on the musical 
stage, and the year following she 
joined Klaw and Erlanger’s forces, 
appearing in “Jack and the Bean¬ 
stalk.” The season of 1899-00, Miss 
Faust appeared on the road as En- 
dymion in “ The Man in the Moon, 

Jr.,” and was afterward at the Ca¬ 
sino in “ The Casino Girl.” She 
began the season following at the 
same playhouse in “ The Belle of 
Bohemia,” and then appeared at the Victoria as the Duke of Buckingham 
in “ My Lady.” By this time Miss Faust had become thoroughly estab¬ 
lished as a singing comedienne and she gave strong evidence of her his¬ 
trionic powers in two widely different roles in “ The Liberty Belles,” those 
of Geraldine Fair, an American girl, and Teresa Corsini, an Italian, the 
season of 1901-02. After a short engagement in “ The Defender,” she took 
up the role of Trixie in “ The Wizard of Oz,” in which she continued for 
two and a half seasons, and her singing of the song, “ Sammy,” in this piece 
proved to be one of the most popular song hits of the age. Miss Faust was 
then leading woman in the big production of “ Wonderland,” after which 
she was seen with Joseph Weber’s company in “ Twiddle Twaddle,” and 
later played the principal soubrette role in “ The White Hen,” in the support 
of Louis Mann. The season of 1907-08, she was particularly happily placed 
in the star cast that surrounded Lew Fields in “ The Girl Behind the 
Counter ” and as Ninette Valois she proved an especially alluring picture. 
The summer of 1908, she was in “ The Mimic World,” at the .Casino. Miss 
Faust, with her beautiful, sparkling eyes, her bewitching, captivating smile 
and her dainty, graceful personality, is richly endowed for the career she has 
chosen, and if her past record is to be taken as any criterion, this lucky 
young player has many brilliant, happy days before her. 



49 




February 9 


Cyril Scott 


O F an almost perennially youthful personality, quite charming and refresh¬ 
ing in itself, Cyril Scott has had an exceptionally fortunate stage career, 
having played a wide variety of parts in an almost unbroken series of 
successes, and it seems a difficult thing to believe that he has been associated 
with theatricals for exactly a quarter of a century. There is a sparkle and 
delightful spontaneity about his acting that makes a particularly strong appeal, 
and the sincere public approbation that has fallen to his lot has been most 
deserved. A native of Ireland, born in Banbridge, County Down, Mr. Scott 
came to the United States while still a youngster. He began his stage 
career in 1883 at Paterson, N. J., in a piece called “ The Girl I Love.” The 
year following he joined Mrs. Fiske’s company, with whom he remained 
two seasons, playing in “ Caprice ” and “ In Spite of All.” The season of 
1886-87 he was with Richard Mansfield in “ Prince Karl,” and the season 
following supported Lotta in “ Pawn Ticket 210 ” and “ The Little 
Detective.” Then came a year with E. H. Southern in “ Lord Chumley ” and 
“ The Highest Bidder.” A season on the road in “ Sweet Lavender ” fol¬ 
lowed this, and the next year he divided between Mr. Sothern in “ The * 
Maister of Woodbarrow,” and with the Lyceum Theatre Company in “ Old 
Heads and Young Hearts.” Beginning with the season of 1891-92, and for 
three years, Mr. Scott was a member of Charles Frohman’s stock company, 
appearing in “ Men and Women,” “ The Lost Paradise,” “ The Girl I Left 
Behind Me,” ‘‘Liberty Hall,” “The Younger Son,” “The Councillor’s Wife,” 

“ Sowing the Wind,” “ Gudgeons ” and “ The Luck of Roaring Camp.” He 
spent the season of 1894-95 with De Wolf Hopper in “ Dr. Syntax,” and the 
next year supported Mrs. Leslie Carter in “ The Heart of Maryland.” Mr. 
Scott began the following season in “ Lost, Strayed or Stolen,” was then in 
“My Friend from India” and in the spring of 1897 he joined the Daly 
Company. He remained at Daly’s for over two years, being cast in “ The 
Circus Girl,” “ The Geisha,” “ Number Nine ” and “ A Runaway Girl.” He 
spent the season of 1899-00 with “ A Stranger in a Strange Land,” with 
Anna Held in “ Papa’s Wife ” and in “ The Casino Girl.” The two seasons 
following this Mr. Scott was Arthur Donegal in “ Florodora,” the season 
following appearing in “ The Silver Slipper.” Then came a year divided 
between “ The Medal and the Maid ” and “ Glittering Gloria,” and another 
with Ida Conquest in “ The Money Makers ” and in a revival of “ Floro¬ 
dora.” Mr. Scott made his stellar debut the season of 1905-06 in “ The 
Prince Chap,” which lasted him two and a half years, and early in 1908 
he was seen in “ The Royal Mounted.” 





Come when the rains 


Llave glazed the snow and clothed the trees with ice, 

When the slant sun of February pours 

Into the bowers a flood of light. Approach! 

The encrusted surface shall upbear thy steps, 

And the broad arching portals of the grove 
Welcome thy entering. 


—Bryant’s “ A Winter Piece.” 


50 


February 1 0 Sybil Carlisle 

A CHARMING and delightful English actress, one almost as well known 
**“in America as in her native land, Sybil Carlisle has upheld a particu¬ 
larly admirable professional record with exceptional dignity and poise, 
and her services are constantly in demand in the most exclusive London 
theatres. A member of a most distinguished English family, Miss Carlisle 
was born in Cape Colony. South Africa, being a grand-daughter of the 
famous late General Sir John Bisset, while her brother. Lieutenant Carlisle, 
distinguished himself in the Boer War, and her sister, Mary Helen Carlisle, 
enjoys great fame as a miniature painter. Miss Carlisle made her stage 
debut at the Globe Theatre, London, January 24, 1891, playing in “ All the 
Comforts of Home,” after which she appeared in the support of Sir Charles 
Wyndham for a year. She made her debut on the New York stage November 
24, 1894, as a member of Augustin Daly’s company, remaining with that 
manager two years, being cast for important roles in “ Twelfth Night,” 
“Love on Crutches,” “Two Gentlemen of Verona,” “A Midsummer Night’s 
Dream,” “ The Taming of the Shrew,” and “ The Railroad of Love.” She 
was also seen at the Madison Square Theatre, in the fall of 1898, with the 
English cast in “ A Brace of Partridges.” Miss Carlisle’s principal London 
engagements, since September, 1900, have been as leading lady with Cyril 
Maude in “ The Second in Command,” with Herbert Waring in “ A Man of 
His Word,” Edward Terry in “ My Pretty Maid ” and at the Duke of 
York’s in “ The Admirable Crichton.” She re-appeared in this country in 
October, 1903, as leading support to William Gillette in “ The Admirable 
Crichton,” continuing in his support two years, since when she has been 
seen in London with John Hare in “ The Alabaster Staircase,” Sir Charles _ 
Wyndham in “The Candidate,” Cyril Maude in a revival of “The Second 
in Command,” William Morris in “ Mrs. Temple’s Telegram,” Pauline Chase 
in “ Peter Pan,” Marie Tempest in “ The Truth ” and on March 2, 1908, she 
re-appeared at the Duke of York’s in a revival of “ The Admirable Crichton.” 

4* 4? 4* 

** S* 3* 

February 1 1 Edward E. Rose 

DWARD E. ROSE has been responsible for more dramatized novels than 

1 any of our present-day playwrights, within the last six or seven years; 
he having turned out no less than a dozen of these dramas-made-while- 
you-wait. Most of them have been successful, lasting their allotted season 
or more and then pass on to the stock company field. Dramatizing novels 
must be a thankless task at best, and one cannot but admire Mr. Rose’s 
contribution to the stage market. A Canadian by birth, born in Stanstead, 
Quebec, the son of George Henry and Nancy (Fox) Rose, he received his 
early schooling in Boston, with a finishing course at Harvard. Two of Mr. 
Rose’s earliest plays that won considerable attention were “ The Westerner,” 
for Al. Lipman, and “ Captain Paul,” for Robert Hilliard, both brought 
out in the middle ’90’s. It was after this that Mr. Rose began turning out 
book plays, some of the best known having been “ The Gadfly,” 1898, for 
Stuart Robson; “David Harum,” 1900, for William H. Crane; “Richard 
Carvel.” 1900, for John Drew; “Janice Meredith,” 1900, for Mary Manner- 
ing; “ Eben Holden,” 1901, for E. M. Holland; “Alice of Old Vincennes,” 
1901, for Virginia Harned; “John Henry,” with George V. Hobart, 1903, for 
Dan Daly; “ The Spenders,” 1903, for William H. Crane, and “ A Gentleman 
from Indiana,” 1905, for Edward Morgan. Mr. Rose also adapted from the 
French “ Brother Jacques,” 1904, for the use of Annie Russell, and a few 
of his other recent plays have been: “ Fighting Bob,” for S. Miller Kent; 
“The Way to Kenmare,” for Andrew Mack; “A Square Deal,” for Otis 
B. Thayer; and a popular melodrama, “The Great Wall Street Mystery.” 
He has also acted in the capacity of stage director for many of the Frohman 
productions. 


51 


February 1 2 Marie Lloyd 

M ARIE LLOYD, “ the only ” as she has been so happily described, is 
certainly to be congratulated upon the tremendous personal success 
that she won in our leading vaudeville houses during the season of 
1907-08. This dashing, piquant comedienne, with her fascinating, bewitching 
personality, was anything but a stranger to American audiences and the 
enthusiasm of her reception must have warmed the cockles of her heart, 

showing that she was not only well 
remembered, but was even a greater 
favorite than ever before. As Acton 
Davies truly said of her, “ All the 
artists in- Marie Lloyd’s line are 
mere imitations when compared 
with her,” and it was good to see 
with what hearty emphasis the pub¬ 
lic agreed with this well-known 
critic. Miss Lloyd is a Londoner by 
birth and she has been before the 
public practically all her life, making 
her debut when a miss of sixteen at 
the Grecian Assembly Rooms, sing¬ 
ing a series of popular songs. She 
sprang into favor almost immedi¬ 
ately and enjoyed special vogue at 
the Middlesex, where she afterward 
appeared. This was followed by a 
long term at the Empire in “ Leaps 
and Bounds,” and for three years 
running she was the principal girl 
in the annual Drury Lane pantomime. Miss Lloyd had by this time 
become an acknowledged star in the music hall world, her delicate, subtle 
artistry being admitted upon all sides, and her fame soon spread to 
American shores. She made her debut in this country at old Koster and 
Bial’s on Twenty-third Street, on October 6, 1890, and was immediately 
received with open arms, completely duplicating her glories at home. But 
previous contracts soon took her from our midst, and she was not again 
seen upon our shores until October 15, 1894, when she appeared at the later 
Koster and Bial’s, on Thirty-fourth Street, these being her only appear¬ 
ances in this country previous to her last visit. Certainly Miss Lloyd has 
been most cosmopolitan in her professional conquests^ for not only have 
England and America paid tribute to this clever little woman, but Aus¬ 
tralia, South Africa and France have each offered homage at her shrine. 
In Paris she created a veritable furore, as indeed she does everywhere, at 
the Folly Marigny and the gay Parisians fairly went wild over her. There 
is a chic, smart air about Miss Lloyd that is both compelling and wonder¬ 
fully attractive. She renders each song with a dashing, gay abandon, free 
from coarseness, too, that at once bespeaks the brilliant, capable artiste 
that she is. American vaudeville lovers have given Marie Lloyd a per¬ 
manent place in their heart of hearts, a fact readily understood by all familiar 
with her work, and it is to be devoutly wished that in future she will make 
far more frequent visits to our shores, for of all the artists who have crossed 
the pond she is unquestionably the best in her line. 





February 1 3 


Edwin Arden 


C 1 DWIN ARDEN has occupied a most conspicuous place as a leading man 
•*— 1 for the past fifteen years and more, and his career covers a vast 1 range 
of experience embracing roles of all sorts, in which he has ever done 
exceptionally fine work. He was born in St. Louis, Mo., and made his debut 
in 1882 with Thomas W. Keene; the three years following appearing mostly 
with the -Madison Square Stock, New York, and the Boston Museum Stock. 
He then starred for nine seasons in plays from his own pen, the most suc¬ 
cessful being “Raglan’s Way” and “The Eagle’s Nest.” The season of 
1 895-96, he gave up starring and for rwo years was leading man with William 
H. Crane; then came a season as Sir John Oxen in “A Lady of Quality,” 
with Julia Arthur, and another as the young husband in “ Because She 
Loved Him So.” He then starred again for a short time in “ Zorah,” written 
by himself, afterward appearing in the Frohman production of “ Hearts are 
Trumps.” From that time on Mr. Arden’s engagements may be recorded 
as follows: season 1900-01, title role in “ Caleb West,” Metternich in 
“ L’Aiglon,” with Maude Adams, and the Berger Stock, Washington; 1901- 
02, with Sadie Martinot in “ The Marriage Game,” stock starring season at 
the Grand Opera House, San Francisco, the name part 1 in “ Jim Bludso,” in 
Chicago, and the Bellew-Mannering revival of “ The Lady of Lyons ”; 
1902-03, “ The Ninety and Nine,” Paris, in the star cast of “ Romeo and 
Juliet,” at the Knickerbocker, and the Jane Oaker Stock, Denver; 1903-04, 
with Kyrle Bellew in “ Raffles,” with Eleanor Robson in “ Merely Mary 
Ann,” and Elitch’s Gardens Stock, Denver; 1904-05, Proctor Stock and 
Fawcett Stock at the American Theatre, playing Louis in “Fedora” with 
Bertha Kalich; 1905-06, “ Home Folks,” the Imperial Stock, Brooklyn, “ The 
House of Silence,” with James K. Hackett, “ The Redskin,” a dip into vau¬ 
deville and “ As Told in the Hills ” ; 1906-07, he was again seen in vaudeville 
in a dramatic sketch, and had his own stock company in Washington; 
1907-08, first in vaudeville, then with Viola Allen in “ Irene Wycherly ” and 
again in stock, in Denver. 


4 s 4* 


<^v> 


February 1 4 Frederick Lewis 

F^REDERICK LEWIS is rapidly making a splendid name for himself as 
* an actor of Shakespearean and romantic roles, and the dignity and 
sincerity of spirit with which he pursues his career are greatly to be 
commended. He is a thoroughly earnest, sincere young actor and is 
deserving of all his success. Born in Oswego, N. Y., Mr. Lewis began his 
stage career in 1891, devoting his first years to traveling companies. He 
received his first taste of New York theatricals in 1897 as a member of 
the Lyceum Theatre Company in the one-act play, “ When a Man’s Married.” 
Following this he appeared on tour in “ The Prisoner of Zenda ” and “ My 
Friend from India,” and for quite a time afterward was associated with John 
Blair and Florence Kahn in their series of modern plays at the Carnegie 
Lyceum. The season of 1900-01, Mr. Lewis appeared on tour in “ The 
Heart of Maryland,” and the two years following was a member of the 
Fawcett Stock Company in Baltimore, also playing Oswald in “ Ghosts,” in 
the support of Mary Shaw. He then appeared under the management of 
Maurice Campbell for two seasons, playing Orlando to Henrietta Crosman’s 
Rosalind in “ As You Like It,” appearing on tour as Edgar Allan Poe in “ The 
Raven ” and created in this country the role of Arnold Rubek in Ibsen’s 
“ When We Dead Awake.” He was then leading man with E. H. Sothern 
and Julia Marlowe for two years in their extensive repertoire, and the season 
of 1907-08 he was seen in the support of Miss Marlowe, playing Romeo, 
Orlando, Charles Brandon in “ When Knighthood was in Flower ” and Count 
Silvio Spini in “ Gloria.” 


53 


February I 5 


John Barrymore 


A S each theatrical season rolls around the name of Barrymore becomes 
more and more of a powerful factor in Stageland, and certainly John 
Barrymore, the youngest member of the family, is more than holding 
his own as a follower of Thespis. Although the grandson of Mrs. John 
Drew, the son of Maurice Barrymore and Georgia Drew, the nephew of 
John Drew and brother of Ethel and Lionel Barrymore, this young man had 
no intention of following a stage career, but started out as an artist and 
illustrator, doing remarkably good work and finding a ready sale for his 
wares. But the stage was in his blood and it was the most natural thing 
in the world that he should become an actor. Mr. Barrymore made his 
debut behind the footlights on October 31, 1903, at Cleveland’s Theatre, 
Chicago, playing Max in “ Magda,” supporting Nance O’Neil. He made 
his New York debut, in December of that same year, at the Savoy Theatre 
in “ Glad of It,” and the April following he was seen at the Criterion with 
William Collier in “ The Dictator,” continuing with this same star all of 
the season following, including a London engagement. The season of 1905-06, 
he appeared with his sister, Ethel, as Jackv in “ Sunday,” Stephen Rollo in 
“Alice Sit-by-the-Fire ” and the Clown in “ Pantaloon,” laiter accompanying 
Mr. Collier to Australia in “ The Dictator.” He re-joined Miss Barrymore, 
in the fall of 1906, appearing with her that season in “ Alice Sit-by-the-Fire ” 
and “ His Excellency the Governor,” later replacing Arnold Daly in “ The 
Boys of Co. B.“ He started out, the season of 1907-08, in this same piece, 
then played the leading part in “ Toddles ” and in May, 1908, he made his 
debut in musical comedy, appearing in Chicago in “ A Stubborn Cinderella.” 





Vivian Marston 


A LTHOUGH Vivian Marston’s stage work has not caused any undue 
upheaval among the discerning and critical of our theatregoers, she has 
always done her best with the small chances at hand and, most poignant 
point of all, each season finds her in possession of a good engagement. Even 
after six years of stage experience, she is still chirruping in the front row 
of musical productions, but as many of our present-day leading soubrettes 
and prima donnas have labored that long in the ranks, there is hope that 
Miss Marston’s day of bigger things is not far off. She is a Boston girl 
by birth, and began her stage career the season of 1902-03, appearing in 
the chorus of “ Miss'Simplicity,” in the support of Frank Daniels. The sum¬ 
mer of 1903, she was seen in “ Otoyo,” on the Madison Square Roof Garden, 
returning to Mr. Daniels’ company for the two seasons following this, appear¬ 
ing with him in “ The Office Boy,” and doing full justice to the limited 
opportunities allowed her in the small bit of Todd Hunter. Miss Marston 
made rather a radical change in her professional endeavors, the season of 
1905-06, and took a dip into melodrama, with musical trimmings, playing 
the part of Sue Jarvis, a dairy-maid, in “ How Baxter Butted In,” with 
Sidney Toler, in which role she was seen for two seasons. But two years 
of work of this kind appear to have been enough for Miss Marston, for 
during the season of 1907-08 she was seen as one of the show girls in 
“ Coming Thro’ the Rye,” touring the Middle and Western States. She is 
quite an attractive girl, vivacious, bright and entertaining, and probably her 
opportunity will come when she least expects it. 


54 


Donald Brian 


February 1 7 

B EYOND question, the most talked about actor on the New York stage 
the season of 1907-08 was Donald Brian, and by his portrayal of Prince 
Danilo in “ The Merry Widow,” he has come into a professional posi¬ 
tion that will stand him in good stead throughout his entire career, carry¬ 
ing him, a short time hence, into a stellar capacity. And certainly he is 
deserving of all praise and adulation, for his Danilo is a complete triumph 
in every sense of the word, combining the rare 
qualities of youth, exceptional grace, marked 
virility and a compelling personality—graces sel¬ 
dom combined in one actor nowadays. Mr. Brian 
came into the world at St. John’s, Newfoundland, 
but spent his school-days in Boston, being a grad¬ 
uate of Boston College. After trying his hand 
at several professions, he determined to follow a 
stage career, making his debut the season of 
1897-98, playing the role of Hardie Grant in 
“ Shannon of the Sixth,” supporting W. H. 

Power. The year following he appeared in the 
role of Spangler in “ On the Wabash,” and then 
came a season with Bert Coote in “ The New 
Boy ” and “ A Battle-Scarred Hero,” and a brief 
appearance in “ Three Little Lambs.” After a 
season in the support of Walter E. Perkins, play¬ 
ing William Loveall in The Man from Mexico,” 

Mr. Brian created the role of Tom Schuyler in 
“ The Chaperons,” and then made his Broadway 
debut, appearing at the New York Theatre Winter 
Roof Garden, playing three different roles within 
as many months, Castor Beane in “ The Supper 
Club,” Arthur Donegal in “ Florodora ” and Tom 
Pinch in “ The Belle of Broadway.” He then 
appeared on the road one season in '“ Florodora,” followed by another as 
Berkeley Shallamar in “ The Silver Slipper.” In the summer of 1904, Mr. 
Brian was featured in the title role in “ Myles Aroon,” in the Proctor thea¬ 
tres, after which came three seasons in George M. Cohan’s productions: one 
as Herny Hapgood in “ Little Johnny Jones,” another as Tom Bennett in 
“Forty-five Minutes from Broadway” and the third as Joe Westcott in 
“ Fifty Miles from Boston ”—all original creations. Then came his sweep¬ 
ing triumph in “ The Merry Widow ”—and all is said! Mr. Brian has 
accepted his new glories with becoming charm and sincerity, contented with 
having achieved so big a goal at so early an age, and, this as a criterion, 
it is safe to assume that when stellar fame becomes his portion, as it surely 
will, he will meet it with equal belief, ambition and enthusiasm—qualities 
which will keep him permanently among our stars. 



The lark now leaves his wat’ry nest, 

And climbing, shakes his dewy wings, 

He takes this window for the East, 

And to implore your light he sings, 

Awake, awake, the morn will never rise 
Till she can dress her beauty at your eyes. 

—Wender. 




February 1 8 Charles J. Ross 

/"^HARLES J. ROSS has occupied a rather unique and almost undisputed 
position among olir leading operatic comedians for a number of years, 
and for the past ten seasons he has been practically a permanent Broad¬ 
way fixture, with each succeeding appearance gaining more and more in 
popularity and professional caste. He is an unusually capable actor, a 
quality not often found in the musical comedy world, and his mimetic powers 

are of so high a calibre as to place 
him almost in a class by himself. 
Mr. Ross came into the world in 
Montreal, Canada, the son of Wil¬ 
liam and Caroline Kelly, and his 
stage career dates from April 5, 
1885, at which time he made his 
debut at Miner’s Bowery Theatre, 
doing a variety specialty. It was but 
a short time after that he married 
Mabel Fenton, the well-known come¬ 
dienne, and for a considerable period 
the twain of Ross and Fenton en¬ 
joyed unabated popularity in the vau¬ 
deville world, presenting a series of 
burlesque skits upon well-known 
plays, such as “ Virginius,” “ Cleo¬ 
patra,” “ The Heart of Maryland,” 
eic. Finally Mr. Ross and Miss 
Fenton were engaged by Weber and 
Fields as members of the original 
company at their Broadway Music 
Hall, opening September 5, 1896, in “ The Geezer.” For five and a half 
consecutive seasons Mr. Ross was one of the popular stellar lights at 
this bijou amusement place, appearing in all the well-known burlesques: 
“Pousse Cafe,” “ Hurly Burly,” “Helter Skelter,” “ Whirl-I-Gig” and 
Fiddle-Dee-Dee.” When Mr. Ross and Weber and Fields reached the 
parting of the ways, the middle of the season of 1900-01, he appeared at 
the Victoria Theatre as Cardinal Richelieu in the burlesque, “ My Lady.” 
The two seasons following this he scored a pronounced personal success as 
Queen Spadia in Klaw and Erlanger’s big spectacle. “ The Sleeping Beauty 
and the Beast.” Mr. Ross then returned to vaudeville for a short time, after 
which he was back again in the Weber and Fields surroundings for a half¬ 
season, appearing in “ Whoop-Dee-Doo.” Then came a brief co-starring 
tour with Miss Fenton in “ Twirly Whirly ” and another short dip into 
vaudeville. The season of 1905-06, he appeared on tour in “ The Winning 
Girl,” and later on when this same piece came into the New York Casino, 
under the title of “The Social Whirl,” he was found in his original role 
of Julian Endicott. Mr. Ross continued in the cast of this production until 
December, 1907, when he became a member of Joe Weber’s company and, 
once again amid familiar surroundings, he scored the hit of his entire 
career by his portrayal of Prince Danilo in the burlesque on “ The Merry 
Widow.” A player thoroughly at home behind the footlights, perfectly 
spontaneous, easy and graceful, Mr. Ross has climbed steadily and un¬ 
swervingly into public favor and with a. degree of constancy and permanency 
that will last him during his entire career. 



50 




February 19 Lydia Thompson 

YVyHAT a tremendous vogue Lydia Thompson enjoyed when in her prime! 
She was practically a pioneer in the burlesque field, introducing many 
features unheard of before her day, and the public, especially the 
masculine portion of it, gave her unstinted praise and support. She flourished 
triumphant for many years, and it was only the cruel inroads of time that 
forced her retirement. Miss Thompson is an Englishwoman by birth, and 
she began her stage career in 1852 at Her Majesty’s Theatre, London, soon 
winning a reputation by her grace as a dancer. She became a popular 
favorite in pantomime and burlesque, not only in England, but throughout 
the leading-capitals of Europe, playing at the head of her own organization. 
Miss Thompson first appeared on the American stage September 28, 1868, 
at Wood’s Museum, where Daly’s now stands, playing the title role in 
“ Ixion,” with a supporting company that included Lisa Weber, Pauline 
Markham, Ada Harlan, Alice Logan, Grace Logan, James Barnes, Sol Smith, 
Jr., Harry Beckett, George C. Davenport and Louis J. Mestayer. She was the 
first ever to import a complete organization of English artists to this 
country. For the following twenty-five years Miss Thompson was a reigning 
favorite upon both sides of the Atlantic, dividing her time equally between 
Europe and this country, and as a burlesque queen her reign was a constant 
series of triumphs, a few of her most popular offerings being: “Pippin, the 
King of the Gold Mines,” “ Mosquito,” “ The Forty Thieves,” “ Bluebeard,” 
“ Robinson Crusoe,” “ Lurline,” “ Oxygen,” “ Babes in the Wood ” and 
“ The Dazzler.” She was last seen in this country in the early nineties. 
Upon her return to England, Miss Thompson gave up starring, and in 1895 
appeared at Daly’s in “ The Artist’s Model,” followed later by a tour in 
“ The Co-respondent.” She then retired from the stage, and has only made 
one professional appearance since then, playing for a short time, in February, 
1904, at the Imperial Theatre, London, in a character part, the Duchess of 
Albuquerque, in “ A Queen’s Romance,” supporting Lewis Waller and 
Mrs. Patrick Campbell. This being her only professional work behind 
the footlights in over ten years, it is hardly likely that Miss Thompson 
will resume her career again. She has a daughter, Zeffie Tillbury, well known 
to American playgoers, and a sister, Clara Thompson, who has appeared here, 
in Nance O’Neil’s support. Greatly favored was Miss Thompson when at. 
her zenith, and hers is a name that will live long in theatrical history. 

# # # 

^ ^ ^ 

As when with downcast eyes we muse and brood 
And ebb into a former life or seem 
To lapse far back in a confused dream 
Of states of mystical similitude, 

If one but speaks or hems or stirs his chair, 

Ever the wonder waxeth more and more 
So that we say, all this hath been before, 

All this hath been, I know not when or where— 

So, friend, when first I looked upon your face 
Our thoughts gave answer each to each so true, 

Opposed mirrors each reflecting each 
Although I knew not in what time or place, 

Methought that I had often met with you, 

And each had lived in the other’s mind and speech. 

—Tennyson. 


57 


February 20 Selene Johnson 

A MONG our most prominent and popular leading women, the name of 
Selene Johnson stands forth conspicuously as an actress of consunv 
mate skill and exceptional poise and distinction. There is a rare touch 
of individuality about her work, an almost indefinable something, call it 
magnetism, talent, or what you will, that arrests and holds one’s attention 
in each and every role she portrays, and with each new appearance she gains 

a greater knowledge of the tech¬ 
nique, a firmer grasp upon the more 
subtle points, of the actor’s art. A 
Philadelphia girl by birth, though of 
late years she has made her home in 
Jersey City, N. J., Miss Johnson 
graduated from the American Acad¬ 
emy of Dramatic Arts in the middle 
nineties, one of her first engagements 
being as leading woman in “ The 
Girl I Left behind Me.” She then 
played the adventuress, Maria Bul- 
ford, in “ The Great Diamond Rob¬ 
bery ” for a season, and then came 
two years in stock work, playing 
leads with such sterling organiza¬ 
tions as the Alcazar Stock, San 
Francisco; Salisbury Stock, Mil¬ 
waukee ; and the Columbia Theatre 
Stock, Washington, D. C. The sea¬ 
son of 1899-00, Miss Johnson was 
leading lady with William H. Crane, 
playing opposite this popular star in “ Peter Stuyvesant,” “ A Rich Man’s 
Son ” and “ A Virginia Courtship.” After this came two years in the 
support of James O’Neill, being a particularly handsome Mercedes in 
“ Monte Cristo.” Miss Johnson was next Evelyn Byrd in “ Audrey,” with 

Eleanor Robson, a role in which she was seen to particular advantage, and 

for a brief time she was the Baroness de Cambri in “ Frou Frou,” supporting 
Grace George. She then returned to Mr. O’Neill’s company for a season, 
creating the heroine in “ The Adventures of Gerard,” and the next year 
enjoyed the distinction of being the first actress, in any country, to play 

the role of the wife, Aurora Bumpus, in Bernard Shaw’s “ How He Lied 

to Her Plusband,” with Arnold Daly. She then re-appeared in the support 
of Grace George, being Theodora Robbins in “ Abigail,” after which she 
spent a season as leading woman with William Faversham, creating Lady 
Diana in “ The Squaw Man.” Another season with Miss George followed 
this, playing Mrs. Watling in “ Clothes,” and her most recent Broadway 
appearance was in the rather thankless role of Lily Summers in “ Irene 
Wycherly,” with Viola Allen, her artistic handling of this part clearly 
showing the clever actress that she is. Miss Johnson, always the personifica¬ 
tion of good taste in the selection of her gowns, is a most imposing, digni¬ 
fied woman in appearance, with a frankly gracious air that fits in admirably 
with the cultured, well-bred woman of the world that she is generally called 
upon to portray, and she may always be relied upon to give a faithful 
rendition of each role, which explains why she is so often found in casts 
of the star variety. 





Brander Matthews 


February 21 

AS the name of Brander Matthews has been so closely associated with 
al l that is ultra in American literary affairs, probably few of our present- 
day theatregoers, especially among the younger set, know that he figured 
quite conspicuously a few years ago as a dramatist of considerable repute, 
though of his half-dozen plays only two met with any degree of lasting favor. 
Mr. Matthews was born in New Orleans, was educated at Columbia College 
and began' life as a lawyer, being admitted to the Bar. His thoughts then 
turned towards the drama, and he soon made a name for himself as a writer 
upon stage topics, being sponsor for any number of books, essays, special 
articles, etc., on theatrical subjects. Since 1892, Mr. Matthews has been 
Professor of Dramatic Literature at Columbia College. The six plays for 
which he has been responsible are: “This Picture and That,” 1887, a one- 
act play, produced at the Lyceum Theatre by Henry Miller and Mathilde 
Madison; “ Margery’s Lovers,” 1887, produced at a special matinee by the 
Madison Square Theatre Company, with a cast headed by Alexander Salvini 
and Marie Burroughs; “ A Gold Mine,” 1888, and “ On Probation,” 1889, 
both written in collaboration with George H. Jessop, the former produced 
by Nat C. Goodwin and the latter by William H. Crane; “The Decision of 
the Court,” 1893, one-act, brought out by the Theatre of Art and Letters, 
with J. H. Gilmour and Agnes Booth at the helm; and “ Peter Stuyvesant,” 
1899, tried, and found wanting, by William H. Crane. Considering his thor¬ 
ough knowledge of the stage and all pertaining to it, it seems rather a strange 
thing that Mr. Matthews has not met with more permanent favor as a 
playwright. 


February 22 Marguerite Clark 

DY her long association with De Wolf Hopper in a series of leading 
soubrette roles, Marguerite Clark has won conspicuous note in the light 
opera world, occupying a front place among our most popular favorites. 
Of an exceptionally diminutive size, graceful and attractive, she is especially 
well fitted for the type of parts with which she has become identified, and 
her success is easily to be understood. Born in Cincinnati, Ohio, Miss Clark, 
after an education gained in the Brown County Convent, Ohio, made her 
stage debut in Baltimore with the Strakosch Opera Company, an organiza¬ 
tion playing standard repertoire operas the season of 1899-00. She made her 
Broadway debut in “ The Belle of Bohemia,” at the Casino, in the fall of 
1900, followed by a brief term in “ The Burgomaster,” in Boston. The 
next season she was seen at the Herald Square Theatre with Dan Daly as 
Mary Lamb in “ The New Yorkers,” after which came an appearance at 
the Knickerbocker Theatre in “ The Wild Rose.” Miss Clark began her 
engagement with Mr. Hopper the season of 1902-03, and has continued in his 
support ever since, aside from a brief time in the spring of 1904, when she 
played Contrary Mary in “ Babes in Toyland.” In Mr. Hopper’s support 
she has played Polly in “ Mr. Pickwick,” Mataya in “ Wang ” and Sylvia 
in "Happyland”—in each of which she has been most successful, particu¬ 
larly so in the case of the third mentioned. 


Ruth Allen 




February 23 


D UTH ALLEN, one of the most promising young players on the stage 
* ^ to-day, one blessed with brains, ambition and a compellingly magnetic 
personality, has made a most enviable impression upon our conservative 
critics, all of whom are unanimous in prophesying a roseate future for her. 
Her stage experience to date has been of the best sort, affording her excellent 
opportunities, and she has ever been more than ready to meet the chance 
at hand. Born in San Francisco, Miss Allen made her stage debut in her 
native city on August 31, 1903, appearing at the Columbia Theatre with 
Henry Miller and Margaret Anglin as one of the “ and others ” in the fourth 
act of “ Camille.” A few weeks later, as a proof of having the courage of 
her convictions, she was playing leading roles with a repertoire company 
on the coast. In the summer of 1904, Miss Allen became a member of the 
Alcazar Stock in ’Frisco, of which she was a member for seventy-nine con¬ 
secutive weeks, playing fifty-two parts in all, a few of her biggest successes 
being: Amelia in “ The Prisoner of Zenda,” Alice Langham in “ Soldiers of 
Fortune,” Olympe in “ Camille,” Clara Hunter in “ The Climbers,” Liza in 
“ The Christian,” Mrs. Maggitt in “ Captain Jinks of the Horse Marines,” 
Cynthia in “ Vivian’s Papas,” Esmeralda in “ A Fool and His Money,” 
Lady Frank Brooke in “ O11 Probation ” and Bessie Broke in “ The Light 
that Failed.” In January, 1906, Miss Allen was specially engaged to create 
the role of “Jack” Newton in “The Strength of the Weak,” supporting 
Florence Roberts, in which role she made her New York debut, at the 
Liberty Theatre, scoring a tremendous personal success. After a season 
and a half in the support of Miss Roberts, Miss Allen originated the part 
of Fay Lofty in the short-lived production of. “ The Other House,” with 
Richard Golden. The season of 1907-08, she was a vaudeville headliner, pre¬ 
senting a sketch entitled “ We Need the Money,” and her usual success again 
perched upon her banner. Although her professional work has rather fallen 
along different lines, Miss Allen is a great devotee of the modern school 
of advanced drama, as exemplified by Ibsen, Sudermann, Fulda, Hauptmann, 
Shaw, etc., and hopes some day to distinguish herself in this field, as she 
probably will. She is an actress of striking individuality, with a personality 
of poignant charm, and her professional outlook is of most generous 
proportions. , 


Tender-handed stroke a nettle 
And it stings you for your pains; 
Grasp it like a man of mettle 
And it soft as silk remains. 

It’s the same with common natures: 
Use them kindly, they rebel; 

But be rough as nutmeg graters, 

And the rogues obey you well. 

—Aaron Hill. 


60 


February 24 Victor Moore 

A NEW star in the theatrical firmament, one whose lustre is likely to 
remain undimmed for many years to come, Victor Moore has met with 
most thoroughly deserved public favor during the last few years, and 
his hold upon the affections of our theatregoers is of the quality that in¬ 
creases with his each appearance in a new role. He was born in the village 
of Hammonton, N. J., receiving his schooling there and at Boston. His 
early days behind the footlights were full of the 
usual ups and downs of the beginner, gaining 
his first stage experience in the super ranks of 
the various Boston theatres. He received his 
first chance in a comedy role in “ A Summer 
Shower,” later appearing in “ A Romance of 
Coon Hollow.” He then appeared on tour in 
“ The Real Widow Brown ” and “ The Girl from 
Paris,” and was seen on Broadway in minor bits 
with John Drew in “ Rosemary,” and in “ Spir- 
itisme,” at the Knickerbocker. Mr. Moore next 
invaded the stock-company field and played pretty 
much every type of role, ranging from Nero in 
“ Quo Vadis ” to the title r<Me in “ Chimmie 
Fadden,” appearing with companies in Peoria, Ill.; 

Newark, N. J.; and Philadelphia. The season of 
1901-02 he was principal light comedian of the 
stock at the American Theatre, New York, gaining 
invaluable experience in a round of melodramas. 

In the spring of 1902, he invaded the vaudeville 
world, presenting the skit, “ Change Your Act,” 
telling of the troubles of two second-rate vaude- 
villians, and the piece promptly became a classic 
of its kind, in which he was seen for three years. 

Mr. Moore was then selected by Klaw and Er- 
langer to originate the part of Kid Burns in George M. Cohan’s " Forty-five 
Minutes from Broadway,” and, though Fay Templeton was the star of this 
piece, he promptly walked away with all the honors. So great was Mr. 
Moore’s success in this role that Mr. Cohan wrote a piece specially for him 
around the character of Kid Burns, and as the star in “The Talk of New 
York,” during the season of 1907-08, he made a lasting impression in the 
stellar heavens. A most modest young actor, with all the zest and enthusiasm 
of a mere beginner, Mr. Moore has climbed steadily and patiently into 
public favor, and, with his quiet, subtle comedy methods, always touched 
with a tinge of sentiment, he has come to be rated with the best of our 
younger stars, those whose futures are sure to bring about only most 
admirable results. 





The February sunshine steeps your boughs 
And tints the buds and swells the leaves within. 

—Bryant’s “ Among the Trees.” 

GI 





February 25 Gertrude Quinlan 

A POPULAR and attractive young comedienne, Gertrude Quinlan has won 
**a proud and independent position for herself in the theatrical world, and 
it doesn’t take a very observing or far-seeing critic to prophesy stellar 
honors for her at no great distant date. With unflagging energy and good- 
natured spirits, she enters thoroughly into each part she portrays, bringing 
to it exceptional powers of grace and animation, and she has yet to give 

her first performance with an appar¬ 
ent sense of boredom—which very 
excellent qualities have placed her 
in her present enviable position. A 
Boston girl by birth and a graduate 
of the Boston High School, Miss 
Quinlan, while still a schoolgirl, de¬ 
cided to follow a stage career and 
made her debut in her home city 
with the Castle Square Opera Com¬ 
pany, singing in the chorus. She 
was a member of this organization 
about a half-dozen years, working 
her way up to be the leading sou- 
brette in the company, in which ca¬ 
pacity she sang in New York, 
Philadelphia, Baltimore, Washington, 
Chicago and St. Louis. With the 
Castle Square forces Miss Quinlan 
acquired an invaluable repertoire of 
roles, a few of her most notable suc¬ 
cesses being Javotte in “ Erminie,” 
Pitti-Sing in “ The Mikado,” Estrelda in “ El Capitan,” Musette in 
“ La Boheme,” Captain Ralph Sheridan in “ Rob Roy,” Diana in “ The 
Isle of Champagne ” and Rose-Marie in “ The Wedding Day.” During 
this time she also played a brief engagement in a melodrama entitled, “ The 
Red, White and Blue.” The season of 1901-02, Miss Quinlan created the 
role of Annette in “ King Dodo,” after which she was Chiquita in “ The 
Sultan of Sulu,” an engagement of two years’ duration, and this role firmly 
established her as an operatic comedienne of the front rank. It was after 
this that she originated the role of Flora Wiggins, the boarding-house 
keeper’s daughter, in “The College Widow,” and her tremendous hit in 
this role is now a part of stage history, she playing it for three consecutive 
years, scoring an individual success such as is given to few players. The 
season of 1907-08, she further maintained her admirable standard by her 
portrayal of the maid, Honour, in “lorn Jones.” Miss Quinlan, of flashing, 
merry eye and captivating smile, long ago won the respect and admiration 
of theatregoers by her loyalty to her profession, her high standard of 
excellence, and these are the very factors that are now leading her on to 
a bigger and higher goal. 



02 




February 26 


Augustus Pitou 


A CLEVER and versatile man is Augustus Pitou, actor, manager and play- 
wright, and, strange as it may seem, he has made a success at all three 
vocations, a happy result not given to many. A native of New York City, 
Mr. Pitou began his association with theatricals as an actor, making his debut 
at the Winter Garden Theatre on March 18, 1867, as the Priest in “ Hamlet,” 
in the support of Edwin Booth. He remained in Mr. Booth’s company for 
many years, appearing for a long time at Booth’s Theatre in the support 
of various well-known stars of that time. Mr. Pitou then gave up the 
grease-paint end of the profession to become a manager, appearing first in 
this capacity with “ The Danischeffs.” After managing the Grand Opera 
House, Toronto, Canada, and the Fifth Avenue and Booth’s theatres, New 
York, Mr. Pitou directed the tour of such stars as Rose Coghlan and W. 
J. Scanlan, and he it was who selected Chauncey Olcott to be Scanlan’s suc¬ 
cessor, having been his manager ever since. Not only that, but, to con¬ 
tinue along the line of his versatility, he has written many of Mr. Olcott’s 
starring vehicles, for instance, “ The Irish Artist,” “ Sweet Inniscara,” “ A 
Romance of Athlone,” “ Garret O’Magh ” and “ Old Limerick Town.” Mr. 
Pitou has also written two successful melodramas, “ The Power of the 
Press” (with George Jessop), produced at the Star Theatre, March 16, 1891, 
with a cast headed by Wilton Lackaye and Minnie Seligman, and “ Across 
the Potomac” (with Edward M. Alfriend), had its first hearing April 18, 
1892, at Proctor’s Twenty-third Street Theatre, with a cast including Robert 
Hilliard, William Harcourt, Henrietta Lander and Helen Tracy. Few people 
of Mr. Pitou’s versatile talents ever accomplish as much as he has done. 


^ HI 9 HI* 

February 27 Emily Stevens 

E MILY STEVENS, a worthy representative of a long line of theatrical 
ancestors, has figured rather conspicuously in Broadway theatricals for 
the past seven years, and has won quite a name for herself in the 
support of Mrs. Fiske in a series of leading ingenue roles. Of a particu¬ 
larly attractive personality, with youth and good looks in her favor, she 
has ever been ready to meet the demands of the various roles entrusted to 
her. and in each of them she has shown a goodly appreciation of dramatic 
values, a sufficient knowledge of the basic principles of her art and the 
promise of even better powers, those to be revealed with further experience. 
Born in New York City, Miss Stevens is a daughter of Robert E. and 
Emma (Maddern) Stevens, and a niece of Mary, Elizabeth, Richard and 
Henry Maddern. It was Elizabeth Maddern (Mrs. Thomas Davey) who 
was the mother of Mrs. Fiske, and thus Miss Stevens is a first cousin of 
the distinguished actress. Upon the completion of her schooldays, she being 
educated in a Philadelphia convent, Miss Stevens made her stage debut 
on October 8. 19CO, at Bridgeport, Conn., playing the maid in “Becky 
Sharp,” with Mrs. Fiske’s company, and her whole stage career, with a 
single exception, has been passed in the support of that actress, her entire 
repertoire of roles being Liza Lu and later on Abraham Durbeyfield, in 
“ Tess of the D’Urbervilles,” Lady Ethel Mickleham in “ Miranda of the 
Balcony” Gladys Lorimer in “The Unwelcome Mrs. Hatch,” Miriam 111 
“ Mary of Magdala,” Josepha in “ Divorgons,” Lady Blanche Thistlewood in 
a later revival of “ Becky Sharp,” Berta in “ Hedda Gabler,” Claire Berton 
in “ Leah Kleschna,” Mignon in the one-act play, “ The Eyes of the Heart, 
and Grace Phiilimore in “ The New York Idea.” The single exception, 
referred to above, occurred in the spring of 1906 when she played Suzanne 
in “ Therese Raquin,” in the support of Bertha Kalich. Miss Stevens, always 
a conscientious young player, has upheld family tradition behind the foot¬ 
lights in a spirited and praiseworthy manner. 


Christie MacDonald 


February 28 

T N the world of light opera the New York public knows no greater favorite 
than Christie MacDonald, the dainty prima donna, and regularly each 
season she is to be found happily placed in one of Broadway’s leading 
productions. A native of Boston, Mass., Miss MacDonald began her stage 
career in Pauline Hall’s company in “ Puritania.” A short time after she 
joined the forces of Francis Wilson, working her way up from obscurity into 
the soubrette roles, appearing with him for five years in “ The Lion Tamer,” 
“ The Merry Monarch,” “ Erminie,” “ The Devil’s Deputy,” “ The Chieftain ” 
and “ Half a King.” During the summer of 1895 she also played a brief 
engagement in “ The Sphinx.” After a short term in “ The Walking Dele¬ 
gate/’ in Boston, Miss MacDonald appeared as Minutezza in Sousa’s “ The 
Bride Elect,” a part she played two years, after which she made quite 
a success in the title role in “ The Princess Chic.” From this time on Miss 
MacDonald’s professional glories crowded fast upon her, and with each 
new role came added fame and reputation. She was leading lady for a 
season and a half with Peter F. Dailey in “ Hodge, Podge and Co.” and 
“ Champagne Charley,” and for an equal length of time she played Nancy 
Staunton in “ The Toreador,” in the support of Francis Wilson. She spent 
a season each with “ An English Daisy,” at the Casino, and “ The Sho-Gun,” 
at Wallack’s, and then came a year divided between “ 2905 ” and “ Mexi- 
cana.” The season of 1906-07, Miss MacDonald played the title role in 
“ The Belle of Mayfair,” following this up this past season by an archly 
dainty portrayal of the name part in “ Miss Hook of Holland.” 


Two horses, free, a third doth swiftly chase; 

The one is white, the other black of hue, 

None bridles have for to restrain their pace, 

And thus the both each other pursue; 

And never cease continual course to make 
Until at length the first they overtake. 

The foremost horse that runs so fast away, 

It is our time while here our race we run, 

The black and white personify night and day 
Who after haste until the goal be won, 

And leave us not but follow from our birth 
Until we yield and turn again to earth. 

—Geoffrey Whitman. 


64 



STUART ROBSON. 


Born, March 4, 1836. 


Died, April 29, 1903- 

































































* 






















































March 1 


John B. Maher 

J OHN B. MAHER occupies a conspicuously prominent place in the stock- 
company world as an actor of light comedy and character roles, and his 
services are constantly in demand in this branch of the amusement field, 
he having gained a repertoire of over four hundred roles during his career. 
A native of Baltimore, Md., Mr. Maher was an active participant in amateur 
theatricals in the Monumental City for several years. He finally determined 
to become a professional player, and, after a year or two of novitiate expe¬ 
rience, he made quite a hit, the season of 1896-97, in the support of E. M. 
and Joseph Holland in “A Social Highwayman,” “Col. Carter of Carters- 
ville ” and “ A Superfluous Husband.” He was next seen with the Smythe 
and Rice Comedians, with whom he remained two years, playing Charles 
Underholt in “ My Friend from India,” George Meredith in “ The Old 
Coat ” and Signor Marconi Castagnelli in “ The Cuckoo.” It was after 
this that Mr. Maher entered the stock company arena, playing with the 
Giffen Stock in Denver for a time. He joined the Pike Stock in Cincin¬ 
nati the season of 1900-01 and was a member of their forces for ithree 
years. On October 12, 1903, Mr. Maher became a member of Alcazar com¬ 
pany, San Francisco, his first part being Roderick Heron in “ Lady Bounti¬ 
ful,” and he has continued with this company ever since, being a great 
favorite with ’Frisco theatregoers. Among some of the roles in which Mr. 
Maher has particularly distinguished himself, one may mention Hosea Howe 
in “ Peaceful Valley,” Robert Spaulding in “ The Private Secretary,” Markey 
Deaves in “ Mrs. Jack,” Joseph Pinglet in “ The Gay Parisians,” Lord Cyril 
Garston in “ The New Clown,” Johnny Trotter in “ The Climbers,” His 
Holiness, Pius XII., in “ The Eternal City,” and Lord Fancourt Babberly in 
“ Charley’s Aunt.” 


Hermann Vezin 

A LTHOUGH born and reared upon American soil, Hermann Vezin’s name 
is far better known to stage-lovers in England than in this country, 
although he has not been professionally active for a number of years. 
When in his prime he was considered one of the finest exponents of the 
Shakespearean drama on the English-speaking stage, and many were the 
professional glories that he enjoyed. Mr. Vezin was born in Philadelphia, 
Pa., being a son of Charles Henri and Emilie (Kalisky) Vezin, and was 
educated in the Pennsylvania metropolis. He went to Europe while a youth 
in his late ’teens, and began his stage career in England in 1850, appear¬ 
ing in stock at the Theatre Royal, York. The very next year he started 
upon his career as a Shakespearean actor by playing Shylock in “ The Mer¬ 
chant of Venice,” at Ryde. In 1852, he was seen at the Princess’ Theatre, 
London, as Pembroke in “ King John,” in the support of Charles Kean. Mr. 
Vezin then embarked upon a stellar career, which lasted over forty years, 
presenting a large variety of classic dramas, a few of his biggest successes 
being in: ‘‘Macbeth,” “Hamlet,” “Othello,” “The Merchant of Venice,” 
“ King John,” “ Louis XI.,” “ Donna Diana,” “ Dan’l Druce,” “ Olivia,” 
“ The Rightful Heir ” and “ The Cenci.” He gave up active professional 
work some years ago, and is now located in London as a dramatic in¬ 
structor, some of England’s best known players receiving their early instruc¬ 
tion at his hands. ’Tis rather an odd coincidence that Joseph Jefferson was 
born in Philadelphia just ten days previous to Mr. Vezin’s earthly debut. 
And though engaged in the same profession, into what different channels 
their work carried them ! 



March 2 


March 3 Theodore Kremer 

A MONG our most prominent dramatists of the day, Theodore Kremer 
occupies a conspicuously prominent place, especially through his pro¬ 
lific output, having turned out dozens of plays within the past ten years, 
practically every one of which has proven a money-maker, both for the 
author as well as the various managers through whom his numerous brain 
children have received a hearing. Like all of our prominent playwrights, 

there was a time when he had to 
seek a hearing for his wares through 
considerable toil and stress, but all 
that is changed nowadays and his 
plays are in such great demand that 
his time and talents are taxed to the 
utmost to meet the cry for them. Mr. 
Kremer is a loyal devotee of the 
drama in its every form, having 
been an actor himself a few years 
ago. Born in Cologne, Germany, 
and a graduate from Bonn Univer¬ 
sity, from which he carried off many 
honors, he left his native land, rathef 
than serve in the German army, and 
went to Australia, making his debut 
in that country in “ The Magistrate,” 
under the management of Messrs. 
Brough and Boucicault. After a 
short time in the antipodes, he re¬ 
turned to Europe, and for eight 
months was a member of the Burg 
Theatre Company in Vienna. He then made a second visit to Aus¬ 
tralia, as a member of the Wilson Forbes Company. From here Mr. 
Kremer embarked to the United States, reaching San Francisco early 
in 1896, and it was there that his first play, “ The Nihilists,” a melodrama, 
was produced. Meeting with success in his initial venture, Mr. Kremer 
abandoned the art of acting for that of playwriting, a field in which he has 
flourished triumphant ever since, his place as a writer of popular melodramas 
being absolutely an unique one. In so limited a space it is practically an 
impossibility to give a complete list of Mr. Kremer’s plays, but a few of 
the most successful have been: “ The Angel of the Alley,” “ Slaves of the 
Orient,” “ An Actor’s Romance,” “ Wedded and Parted,” “ For Her Chil¬ 
dren’s Sake,” “ Queen of the Convicts,” “ A Desperate Chance,” “ Fast Life 
in New York,” “ Secret Service Sam,” “ Bertha the Sewing Machine Girl ” 
and " The Fatal Wedding,” which last has had as many as three companies 
playing it at the same time. Being a most ambitious* writer, Mr. Kremer 
is naturally anxious to become identified with a less sensational form of 
play writing and in at least two instances, “ The Power Behind the Throne ” 
and “ The Triumph of an Empress,” both produced with great success by 
Mildred Holland, he has proven that he can write plays for the classes as 
well as the masses. A man of culture and exceptional high mental calibre, 
Mr. Kremer’s praiseworthy and laudable ambitions deserve every encourage¬ 
ment, and his future as a playwright is one that will probably have consider¬ 
able influence upon the American drama of to-morrow. 





March 4 


Maude Fealy 

T^ROM the very beginning of her career, Maude Fealy has played leading 
roles exclusively and she has been associated with no less than a half- 
dozen of our prominent masculine stars, not to mention having been a 
star upon her own account for the past two years. Though only in her 
early twenties, she has gained a most thorough knowledge of the actor’s art, 
and with a personality of gentle, girlish charm, she is extremely well fitted 
for the type of roles with which her name is associated. Miss Fealy was 
born in Memphis, Tenn., being a daughter of Margaret Fealy, herself an 
actress for a number of years and more recently a teacher of dramatic art. 
She received her stage training at the hands of her mother, playing a 
number of leading roles in public as an amateur. Miss Fealy made her 
formal stage debut, late in 1899, as Eunice in “ Quo Vadis,” making her debut 
upon the New York stage in this role, at the New York Theatre. The two 
years following this she played Alice Faulkner in “ Sherlock Holmes,” with 
William Gillette, appearing in this country as well as in London. Then 
came a season as leading woman with E. S. Willard in his repertoire, divid¬ 
ing the year following between “ Hearts Courageous,” wiith Orrin Johnson, 
and “ That Man and I,” with Robert Hilliard. The season of 1904-05, 
Miss Fealy appeared in England as leading lady with Sir Henry Irving in 
“ Becket,” “ The Lyons Mail,” “ Louis XI.” and “ Waterloo.” Returning 
to this country, she appeared the next season in “ The Truth Tellers,” later 
playing opposite William Collier in “ On the Quiet.” She made her debut 
as a star, the season of 1906-07, in “ The Illusions of Beatrice,” and 1907-08 
she was seen in “ The Stronger Sex.” For the past eight years, Miss Fealy 
has appeared in a stellar capacity each summer with the Elitch’s Gardens 
Stock Company in Denver, Colo. 


March 5 Fewlass Llewellyn 

T^EWLASS LLEWELLYN has had a busy career of it in England, so 
much so that he hasn’t had time to slip across the Atlantic and give 
us a sample of his talents as an actor. However, he is still a young man, 
and can patiently await his invasion of foreign lands and our theatregoers, 
in their turn, will have to await his coming with all good patience. Mr. 
Llewellyn was born in Hull, and started out as an actor in 1890 in a tour¬ 
ing production of “ Harbour Lights.” His first years behind the footlights 
were devoted to provincial companies in “ Theodora,” “ One of the Best ” 
and “ How London Lives.” He then appeared in London with Sir Charles 
Wyndham in “ Cyrano de Bergerac ” and “ David Garrick,” and with Arthur 
Bourchier in “ The Wedding Guests.” A return to the provinces followed 
in “ The Swashbuckler ” and “ The Christian,” and in 1902 he appeared at 
Drury Lane as the Centurion in “ Ben-Hur.” After appearing in the London 
production of “ The Altar of Friendship,” Mr. Llewellyn made quite a 
success as the Examining Officer in the court-martial scene in “ Lights 
Out,” known over here as “ Taps.” He then played Ploetz in the special 
matinees of “ Midsummer Fires,” at the Scala, and more recently was Father 
Lamplugh in “ The Christian,” at the Shaftesbury. Mr. Llewellyn is also 
a member of the Play Actors, a body of professionals that give fortnightly 
Sunday performances in London of plays of the advanced modern school, 
such as Hauptmann’s “ Hannele,” for instance, and has done a good deal 
of notable work with this ambitious organization. In addition, he is a play¬ 
wright of no little import. Thus it would certainly seem that so clever and 
versatile a man as Fewlass Llewellyn cannot hide his light under an English 
bushel forever—so our patience may not have to endure much longer. 


■# • 4 ' 


69 


March 6 Grace Gardner 

A VAUDEVILLE favorite of the very first rank, and one whose popu¬ 
larity not only continues unabated season after season, but which is 
constantly on the increase as well, even already spreading to foreign 
shores, Grace Gardner is a splendid example of the tremendous success that 
may be achieved in a rather difficult field if the player is both a clever 
actress and the possessor of a good sketch. She has floated upon the top 

wave of vaudeville favor for a long time, and her 
place among our leading headliners is now undis¬ 
puted and unquestioned, a fitting tribute to an 
uncommonly good actress and clever, intelligent 
woman. Miss Gardner is a Bostonian by birth, 
receiving her education at both public and pri¬ 
vate schools there, and she made her stage debut 
in that same city, too. A member, of a good, 
old Quaker family, after overcoming parental 
opposition, Miss Gardner made her first appear¬ 
ance at the Hollis Street Theatre in “ Leah the 
Forsaken.” A short time after she was seen 
at this same playhouse in “ Longfellow’s Dream,” 
being little more than a school-girl at the time. 
Owing to her exceptional talent in the field of 
oratory, Miss Gardner then became a public 
reader, in which line she flourished successfully 
for several years. She next turned her attention 
to the vaudeville stage, presenting the sketch, 
“ The New Coachman,” assisted by Louis Simon, 
and for eight consecutive years she has used this 
same sketch, there being a constant, unceasing 
demand for it upon all sides. This playlet, of 
thirty-six minutes’ duration, containing two hun¬ 
dred and eighteen laughs, appears to grow in 
public esteem with added years, and in it Miss Gardner is the possessor 
of an invaluable piece of theatrical property. She appeared in the sketch in 
the London music halls a little over a year ago for a special engagement 
of one month, which time was promptly doubled, and could have continued 
indefinitely if imperative American contracts had not necessitated her imme¬ 
diate return home. However, Miss Gardner is shortly departing for the 
other side again, this time to be gone for a year and a half, and she is to 
present “ The New Coachman ” for two months each in London, Glasgow, 
Birmingham, Berlin, Dresden and Paris—quite a sure test, both of her 
talents and her sketch’s world-wide popularity. An easy, graceful player, 
and a particularly good stage director, Miss Gardner certainly has had a 
most happy and fortunate stage career. 



Oh, passing few are they who speak, 

Wild, stormy month, in praise of thee, 
Yet, though thy winds are loud and bleak, 
Thou art a welcome month to me; 

For thou to northern lands again 
A glad and glorius song dost bring, 

And thou hast joined the gentle train 
And wear’st the gentle name of Spring. 

—Bryant’s “ March.” 


70 




March 7 


R. D. MacLean 


A LTHOUGH R. D. MacLean is no longer the conspicuous figure in the 
stage world that he was a few years ago, he is still well remembered 
for his effective work in Shakespearean and romantic roles. Of an 
exceptionally handsome and commanding appearance, he was particularly well 
suited to the classic drama, and flourished most successfully as a stellar 
light for many years. Born and reared amid every comfort and luxury, Mr. 
MacLean claims New Orleans as his birthplace. His youth was passed • 
there and in Virginia, receiving his schooling at the Washington Lee Uni¬ 
versity, of Virginia. He began life in a mercantile career, engaging mean¬ 
while in amateur theatricals, and his love for the stage was such that he 
determined to become a professional player. He began his. career in 1886 
as a star, later joining forces with Marie Prescott, and the MacLean- 
Prescott combination flourished successfully for a number of years, pre¬ 
senting such plays as “Romeo and Juliet,” “Twelfth Night,” “Othello,” 
“ The Merchant of Venice,” “ The Winter’s Tale,” “ Richard III.,” “ Cle¬ 
opatra,” “ Ingomar ” and “ The Gladiator.” Mr. MacLean, whose name 
in private life is Rezin Davis Shepherd, married Miss Prescott in 1892, 
followed by her death about a year later. He then gave up the stage, and 
lived for several years at his country estate of two thousand acres, called 
“ Wild Goose Farm,” at Shepherdstown, W. Va. On April 1, 1897, he 
espoused Odette Tyler, resuming his stage work again the season of 1898-99 
by forming a triple star alliance with his wife and Charles B. Hanford, 
playing “ Othello,” “ The Merchant of Venice ” and “ Romeo and Juliet.” 
The next year Mr. MacLean and Miss Tyler starred under Charles Froh- 
man’s direction in “ Phroso,” and the season following, in an alliance with 
Modjeska, they were seen in “King John,” “Mary Stuart” and “Macbeth.” 
The season of 1901-02, the MacLean-Tyler combination fared forth in “ The 
School for Scandal,” “ Coriolanus ” and “ King John,” and the next season 
they played stock-starring terms in Brooklyn and San Franscisco. Since 
then Mr. MacLean has played two engagements under David Belasco’s 
direction, in 1904, as Marcus Lecca in “ Adrea,” supporting Mrs. Leslie 
Carter, and the year after as General Hugh Kendrick in the special star 
revival of “The Heart of Maryland.” Since then Mr. MacLean has not 
appeared on the stage, though it is doubtful if his retirement is for any 
permanent length of time. 





The hazel blooms, in threads of crimson hue 
Peep through the swelling buds, foretelling Spring; 
Ere yet the white thorn leaf appears in view 
Or March finds throstles pleased enough to sing. 


Clare’s “ The Rural Muse.” 


71 


March 8 


Blanche Nichols 


L OVERS of good vaudeville, and their name is legion, have long cher¬ 
ished a strong affection for that clever team, Murphy and Nichols, 
whom succeeding seasons find growing more and more in public esteem. 
Blanche Nichols, the feminine end of the pair, is one of the special pets ot 
music hall patrons, a popularity readily understood, for she is one of the 
cleverest girls in that branch of the profession, or in any other branch, tor 

the matter of that. She is a distinctly original 
young player, brimming over with magnetism, and 
hers is a wholesome, refreshing personality that 
wins favor at once. Miss Nichols hails from 
St. Louis, and, while she is best known to vaude¬ 
ville audiences, many, indeed, have been her 
triumphs in other fields of dramatic labor. After 
serving an apprenticeship in the realm of light 
opera, Miss Nichols won not a little fame as a 
player of farce-comedy roles, appearing for three 
seasons in the farces of the late Charles H. Hoyt, 
scoring notably as a Telephone Girl in “ A 
Hole in the Ground ” and as Carrie Story in “ A 
Tin Soldier.” She also did most excellent work 
as Helen Blazes in Blaney’s production of “ A 
Boy Wanted.” It was the season of 1901-02 that 
Miss Nichols determined to lend her talents to 
the vaudeville stage, she forming a partnership 
with Will H. Murphy. Their first offering was 
a sketch entitled, “The Bifurcated Girl,” in which 
they enjoyed great favor for three consecutive 
seasons. Following upon the success of this piece, 
the season of 1904-05, they brought out another 
skit, “ From Zaza to Uncle Tom,” which proved 
even a greater hit than its predecessor, and has 
been used by them continuously ever since. Miss Nichols’ impersona¬ 
tion of the stranded soubrette in this piece has been called a classic 
of its kind, and places her in the front rank of our feminine farcical 
players. She has worked hard for her success, to attain her present ex¬ 
cellent position, and her goodly reward is certainly deserved. Miss Nichols 
will unquestionably be heard from in most positive terms in seasons to come, 
she is too clever a women to remain in vaudeville much longer, and there 
is no doubt in the minds of those who know that far greater glories await 
her with the increase of years and experience. She and Mr. Murphy have 
had two very liberal offers from prominent New York managers to star in 
a comedy, but have declined them, owing to their desire to produce a new 
comedy sketch in vaudeville, after which they will probably be seen on 
Broadway with a company of their own. 



Slayer of Winter, art thou here again? 

Oh, welcome thou that brings the summer nigh; 
The bitter wind makes not the victory vain, 

Nor will we mock thee for thy faint blue sky. 

—William Morris’ “ March.” 

72 




March 9 


Eddie Foy 

E 7 DDIE FOY, a comedian of unique methods and rather unique person- 
■*— 1 ality, has more than held his own as a fun-maker for a number of years, 
and, with a strikingly individual style of humor, he has won a leading 
place among our operatic favorites. A native of New York City, Mr. Foy 
started up the stage ladder in Chicago in 1869, doing a turn at a variety 
theatre. For ten years he appeared in this field, playing in all the variety 
houses over the country. He then spent three seasons at the Palace Theatre 
in Denver, and for an equal length of time was identified with Emerson’s 
Minstrels, again on the variety stage and the Cancross Minstrels. In 1884 
Mr. Foy was with Felley and Mason in “ Tigers,” in 1885 with Carrie Swain 
in “Jack in the Box,” in 1886 with the Alcazar Stock, San Francisco; in 
1887 with George S. Knight in “ Over the Garden Wall ” and in 1888 as 
principal comedian with Kate Castleton. The year following he joined 
David Henderson’s forces in Chicago, and for a number of years was 
identified with such popular spectacles as “ The Crystal Slipper,” “ Blue¬ 
beard,” “ Sinbad the Sailor,” “ Ali Baba ” and “ Robinson Crusoe.” He then 
starred in the West in “ Off the Earth ” and “ The Strange Adventures of 
Miss Brown.” It was the season of 1898-99 that saw Mr. Foy come into 
permanent favor in Eastern theatricals, appearing that year at the Herald 
Square Theatre in “ Hotel Topsy Turvy ” and “ An Arabian Girl.” He then 
made another starring tour through the West in a piece called “ A Night in 
Town.” Since 1901 Mr. Foy has been a leading figure in New York’s stage 
affairs, and has met with the most hearty approval in the productions of 
“ The Strollers,” “ The Wild Rose,” “ Mr. Bluebeard,” “ Piff, Paff, Pouf,” 
“ The Earl and the Girl,” “ The Orchid ” and in vaudeville. 

4* 4* 4? 

v* J&. 

March 10 J essie Busley 

T HE present stage generation can boast of few actresses as clever as Jessie 
Busley, and her exceptional versatile powers have given her almost 
an unique position among our greatest stage favorites. She is an Albany, 
N. Y., girl and began her stage career in Robert Mantell’s company, from 
which she quickly passed to traveling companies in “ The Bells of Hasle- 
mere ” and “ Shenandoah.” After this came a period with the famous Boston 
Museum Stock. Beginning with the season of 1893-94, and for twelve years 
thereafter, Miss Busley appeared exclusively under the direction of Charles 
Frohman, contributing many pieces of admirable acting to the New York 
stage during that time, her various engagements being classified as follows: 
1893-94, “ Charley’s Aunt ” ; 1894-95, “ The New Boy ” ; 1895-96, “ The Sport¬ 
ing Duchess ” and “ Thoroughbred ” ; 1896-97, “ The Two Little Vagrants ” ; 
1897-98, “ Oh, Susannah! ”; 1898-99, with the Empire Theatre Company in 
“ The Conquerors ” and in “ Her Atonement ”; 1899-00, with the Lyceum 
Theatre Company in “The Manoeuvres of Jane” and in “Hearts are 
Trumps”; 1900-01, “Hearts are Trumps” and “The Brixton Burglary”; 
1901-02, with William Faversham in “A Royal Rival” and in “Sky Farm”; 
1902-03, “The New Clown,” “The Two Schools” and with Clara Blood- 
good in “ The Girl with the Green Eyes ”; 1903-04. first with Mrs. Blood- 
good, then in “ Little Mary,” later with William Gillette in “ The Admirable 
Crichton” and finally with William Norris in “ A Business Man”; 1904-05, 
with Henry Miller in “ Mice and Men ” and “ Joseph Entangled,” again with 
Mr. Gillette in “Crichton” and in “Mrs. Leffingwell’s Boots”; 1905-06, 
with Nat Goodwin in “ Wolfville,” again in “ Mrs. Leffingwell’s Boots ” and 
with William Norris in “ The Strenuous Life.” For the past two years 
Miss Busley has starred on the road, under the management of Liebler and 
Co., as Nance Olden in “ In the Bishop’s Carriage.” 


73 


March 1 I Valerie Bergere 

\ 7 ALERIE BERGERE, a cherished vaudeville favorite, has long ranked 
* as one of America’s most finished and artistic actresses, and her note¬ 
worthy stage career has been one in which she may take pardonable 
pride. She is a woman of the highest artistic ideals, ever pressing on to 
a bigger goal, and, with her electric emotional qualities and wonderful 
personal magnetism, her conquest of the public is easily explained. Miss 

Bergere is a Frenchwoman, fascinat¬ 
ing and petite, her birthplace being 
Metz and her family name is de 
Beaumont. She received her early 
education in her native country, and 
when a very young girl came to 
America in company with her sister, 
Leona Bergere, and they joined the 
Conried Opera Company. While in 
her early ’teens Miss Bergere went 
to California and became a news¬ 
paper writer in San Francisco. 
Shortly afterward she decided to 
adopt a stage career, and made her 
debut in 1892 as Dora Vane in a tour¬ 
ing company in “ Harbor Lights.” 
The next year found her playing in¬ 
genue roles in the support of Maude 
Granger, and shortly afterward she 
appeared in a piece called “ The 
Journalist.” She came East the sea¬ 
son of 1894-95 and appeared in a 
melodrama entitled “ On the Bowery,” followed by a season in “ The 
White Rat,” and two in “ On the Mississippi.” It was after this that 

Miss Bergere became identified with stock work, as leading lady of such 
sterling organizations as the Girard Avenue Stock, Philadelphia, two sea¬ 
sons ; Dearborn Stock, Chicago, one season; and terms with the Thanhouser 
Stock, Milwaukee; Columbia Stock, Brooklyn; and Albee Stock, Provi¬ 
dence ;—observing the highest possible standard in all her varied roles, some 
of her biggest triumphs being as Cleopatra, Juliet, Sans-Gene, Fanchon, 
La Tosca, Cigarette, Carmen, Zicka in “ Diplomacy,” Stephanie in “ Forget- 
Me-Not” and Nancy Sikes in “Oliver Twist.” The season of 1900-01, 
Miss Bergere appeared under the direction of David Belasco, as Cora in 
“ Naughty Anthony ” and in the title role of “ Madame Butterfly,” her 
triumph in the latter being one of the biggest individual successes ever 
scored by any actress. Following this came Miss Bergere’s invasion of 
the vaudeville world, where she has reigned triumphantly ever since, hav¬ 
ing presented the following sketches: “Billy’s First Love,” “Jimmy’s Ex¬ 
periment,” “ His Japanese Wife,” a tabloid version of “ Carmen,” “ A Bow¬ 
ery Camille ” and “ The Morning after the Play,” in each of which she has 
been tremendously successful. Keen intelligence marks all of Miss Bergere’s 
work, and it has proved a very solid foundation upon which she has built 
her splendidly brilliant record. 





March 1 2 Mrs. Thomas Whiffen 

A NAME lon S revered by theatregoers, and one that has alwavs been 



and dramatic stages, being the first to play Buttercup in “ Pinafore ” on the 
fvJew x ork stage. She finally settled down into playing character roles in 
the drama, joining the Madison Square Theatre Stock on February 4, 1880. 
and for six years she was identified with this company, appearing in “ Hazel 
Kirke, “ Esmeralda,” “ Young Mrs. Winthrop,” “ The Rajah ” “ May 
Blossom,” “ The Private Secretary,” etc. In 1887, Mrs. Whiffen became a 
member of the Lyceum Theatre Company, with which organization she re¬ 
mained twelve consecutive years, participating in the original productions 
of such plays as “ The Wife,” “ Sweet Lavender,” “ The Charity Ball,” 
“ The Amazons,” “ Trelawny of the Wells,” etc. She was then a mem¬ 
ber of the Empire Theatre Company for three years, and for two seasons 
played a number of special parts: with Ethel Barrymore in “ Captain Jinks ” 
and “ Cousin Kate,” Mary Mannering in “ The Stubbornness of Geraldine,” 
Arthur Byron in “ Major Andre,” Clara Bloodgood in “ The Girl with the 
Green Eyes ” and “ The Coronet of a Duchess,” and Eleanor Robson in 
“ Merely Mary Ann.” For the past three years Mrs. Whiffen has appeared 
with Henry Miller and Margaret Anglin in “ Zira ” and “ The Great Divide.” 




March 



Cecilia Radclyffe 


/^ECILIA RADCLYFFE is one of the many English players who have 
elected to locate permanently on the American stage, and, as she has 
met with not a little encouragement at the hands of our theatregoers, she 
is to be congratulated upon her professional change of base. She is a clever 
actress, earnest, painstaking and sincere, with considerable ambition and 
determination, and her success in this country is a gratifying tribute to her 
talents as an actress. Miss Radclyffe had the usual experience of the 
English player of a good, thorough training in provincial touring companies. 
She made her debut in this country on August 27, 1900, as leading woman 
of the Grose Stock Company in Montreal, Canada, opening as the heroine 
in the military melodrama, “ Tommy Atkins.” She played a number of 
leading parts with this organization, being specially successful as Vera in 
“Moths,” Kate Hardcastle in “She Stoops to Conquer” and May Edwards 
in “ The Ticket-of-Leave Man.” Miss Radclyffe won her first note on the 
New York stage in the support of Mrs. Fiske, with whom she played Lady 
Bareacres in “ Becky Sharp ” and created the role of Madame Berton in 
“ Leah Kleschna.” Later she was seen at the Madison Square Theatre 
as Adele, Vicomtes-se de Montemar, in the one-act playlet,. “ A Daughter of 
the Tumbrils,” of unhappy memory. The season of 1907-08, Miss Radclyffe 
was seen in the support of Herbert Kelcey and Effie Shannon, creating the 
part of Miss Kinny in “ Bridge ” and playing Lady Parchester in their 
revival of “ The Walls of Jericho.” A pity it is that Miss Radclyffe’s pro¬ 
fessional opportunities have not allowed her a more frequent appearance on 
Broadway. 


75 


March 14 


Clarice Vance 


A LL lovers of vaudeville, from the Atlantic to the Pacific and from the 
Canada Bbrder to Mexico Gulf, are familiar with the admirable methods 
of Clarice Vance, so well known by her sobriquet of “ The Southern 
Singer.” One need not be told that she is a Southerner born, Louisville, Ky., 
being her birthplace, for ’twould be an impossibility for anyone, save to the 
manner born, to render coon songs in so inimitable manner as she. The first 
few years of Miss Vance’s stage career were given over to farce comedy 
productions and it was not until about 1897 that she awoke to the full 
possibilities of the coon song. Since then she has made this particular style 
of song her one big feature in the vaudeville theatres and her popularity is 
truly amazing. Each season, if she so elected, she could play a full term 
of fifty-two weeks, but she prefers to book her own time as suits her fancy, 
though occasionally she appears in the olio of a traveling vaudeville organiza¬ 
tion : for instance, in 1901 she was the big feature of Scribner’s Specialty 
Company, and in 1904 was at the head of the Orpheum show. In a word, to 
aptly describe Miss Vance one has only to quote a conservative Boston critic 
when he said of her: “ Her charm is as powerful as it is indescribable.” 
This summary most admirably fits this true daughter of the South and 
practically explains her strong hold upon the public. In private life Miss 
Vance is the wife of Mose Gumble, so long associated with the J. H. Remick 
Music Co., they having married on December 7, 1904, at Indianapolis. 





March 1 5 



I ESLIE STUART’S name as a composer is almost as well known to 
•■—‘American playgoers as in his native England, and no matter what portion 
of success or ignominy he may have to face in the years of to-morow, he 
will always be remembered as the man who wrote the famous double-sextette 
number, “ Oh, Tell Me, Pretty Maiden,” in “ Florodora.” But Mr. Stuart 
has other claims to fame, too. Born in Southport, England, his real name 
being J. A. Barrett, he was appointed organist of the Roman Catholic 
Cathedral, at Salford, when a youngster of fifteen. Seven years in this 
position, and he filled a similar post for an equal length of time at the 
Church of the Holy Name, Manchester. As a composer, Mr. Stuart has 
stood sponsor for any number of religious compositions, and he has written 
the music for four of the biggest musical comedy successes ever produced 
in either London or New York: to wit, “Florodora,” “The Silver Slipper,” 
“ The School Girl ” and “ The Belle of Mayfair.” He has also written 
any number of special songs, introduced into various productions. His 
music is especially pleasing to the ear, catchy, rippling and melodious, and 
his vogue as a composer is a thing easily to be comprehended. 


76 


March 1 6 


Walker Whiteside 


r "THE name of Walker Whiteside stands out with remarkable clarity among 
-*■ our younger generation of stars, and as an actor of Shakespearean and 
romantic roles he has come to be looked upon as one of the leading 
figures of the day in American theatricals. Born in Logansport, Ind., Mr. 
Whiteside is of English extraction on his mother’s side and Scotch-Irish 
upon his paternal side. Originally the family settled in Virginia, and he 
is a true Son of the Revolution, one of his an¬ 
cestors being a member of the first Congress and 
later a member of Washington’s Cabinet. Mr. 

Whiteside began his stage career in the early 
nineties, appearing at the head of his own com¬ 
pany. and he made his New York debut on April 
19, 1893, at the Union Square Theatre, as Ham¬ 
let, two days later playing Richelieu. In 1895, 
he made a magnificent revival of “ Hamlet,” at 
the Herald Square Theatre. His early tours were 
given over to the production of classic plays 
alone, but since 1899 he has devoted himself to 
the presentation of more modern pieces. On 
the night of January 31, 1901, he lost three of 
his largest productions by the burning of the 
famous Coates Opera House in Kansas City. 

Mr. Whiteside’s Shakespearean repertoire consists 
of “ Hamlet,” “ Othello,” which role he fre¬ 
quently alternates with Iago; “Richard III.,” 

“The Merchant of Venice” and “The Tam¬ 
ing of the Shrew ”; and among the older classics 
he has presented “ Richelieu,” “ The Fool’s Re¬ 
venge ” and “ The Lady of Lyons.” His list 
of modern romantic plays includes: “ The Cousin 
of the King,” “ The Man in Black,” “ The Red 
Cockade,” “ Robert of Sicily,” “ Eugene Aram,” “ Heart and Sword.” “ We 
are King.” “ David Garrick’s Love,” “Jewels of Fire,” “The Magic Mel- 
ody ” and “The Beloved Vagabond.” Mr. Whiteside had always appeared 
under his own management until the spring of 1907, when he signed a five- 
years’ contract with the well-known firm of Liebler and Co., and he will 
probably be seen on Broadway again at no great distant date. A scholarly,' 
cultured actor, one who has devoted his entire career to the best interests 
of the drama, Mr. Whiteside deserves every recognition and encouragement 
for the splendid standard he has maintained throughout his entire career. 



< 1 * 


With rushing winds and gloomy skies 
The dark and stubborn Winter dies; 

Far off, unseen, Spring faintly cries, 

Bidding her earliest child arise. 

—Bayard Taylor’s “ March.” 




Clara Morris 


March 1 7 

' I 'HE name of Clara Morris will probably always have tender memories 
and associations for American theatregoers, she having been our leading 
emotional actress for so many years, and those who paid tribute to her 
acting talents yesterday are now charmed by her skill as a writer. She had 
a marvelously successful career when at her zenith, and even to this day 
her influence upon the drama is strongly felt, she having been practically 
the first of the realistic school of emotional actresses. Miss Morris was 
born in Toronto, Canada, but passed her childhood in Cleveland, Ohio. She 
began her stage career in the latter city as a member of the stock company 
at the Academy of Music, being a girl of thirteen at the time, under John 
Ellsler’s direction. For the first ten years of her career she played princi¬ 
pally in stock in Cleveland and Columbus, attempting any and all kind of 
roles. Finally Augustin Daly heard of her, and offered her an engagement 
in his New York company, which she accepted, making her debut Septem¬ 
ber 13, 1870, as Anne Sylvester in “ Man and Wife.” Her success was 
instantaneous, and she remained with Daly for three years, one triumph fol¬ 
lowing fast upon the other. Miss Morris then became a star upon her own 
account, and for twenty years she was our foremost exponent of the emotional 
drama, playing Leah, Jane Eyre, Camille, Lady Isabel, Mercy Merrick, 
Denise, Jane Shore, etc. It was about the middle nineties that saw the end 
of her stellar reign, appearing for a short time in vaudeville, and since then 
she has met with every encouragement as a writer of several novels and 
short stories. Miss Morris emerged from her retirement in 1904, and played 
Sister Genevieve in the star-cast of “ The Two Orphans,” this being prac¬ 
tically her only professional work in recent years. Hers was a brilliantly 
successful career, and now, amid the quietude of retired life, she may look 
back upon a wide stretch of years of work well and faithfully done. 


March 18 Anna Held 

A NNA HELD has certainly had a most fortunate career on the American 
** stage, being a tremendous popular favorite for exactly twelve years in 
all, and she is now rated as one of the biggest money-making stars 
before the public. A native of Paris, France, she had rather a hard struggle 
of it during her early days, being orphaned when a girl of twelve, and she 
was compelled to make her own way in the world. She began as a concert- 
hall singer, appearing first in London and later toured all over Germany. She 
soon began to make a name for herself, later tempting fate in Paris, followed 
by a most successful term at the Palace Music Hall, London. It was. during 
this engagement in the British capital that Miss Held first sang in the English 
language. One night Florence Ziegfeld, Jr., heard her sing, and, realizing her 
value, engaged her for an American appearance. Miss Held made her debut 
in this country on September 21, 1896, at the Herald Square Theatre, singing 
her songs during the action of “ A Parlor Match.” A year later she 
married Mr. Ziegfeld and was seen for a brief time in the Hammerstein 
production of “ La Poupee,” after which she did her specialty on the road 
with a company, playing two plays, “ The Cat and the Cherub ” and “ A 
Gay Deceiver.” Miss Held made her debut as a fullfledged musical comedy 
star the season of 1898-99, appearing on the road in “ The French Maid.” 
The four seasons following this she divided equally between “ Papa’s Wife ” 
and “ The Little Duchess,” followed by one season in “ Mile. Napoleon.” 
The season of 1904-05, Miss Held appeared with Joseph Weber’s company 
in “ Higgledy Piggledy,” after which she was off the stage a year, and for 
the past two seasons she has been playing to enormous returns in “ The 
Parisian Model.” 


March 19 Fay Wallace 

/^VF a dainty, fragile type of girlish beauty, with particularly expressive 
brown eyes, Fay Wallace certainly has all the necessary qualifications 
for the successful ingenue actress, not to mention considerable dramatic 
ability, ability of a calibre that should some day bring a more than generous 
reward. During her few years before the public she has gained an excellent 
amount of sound, practical experience, and she is now ready and well 
equipped to meet most ambitious professional chances. Miss Wallace was 
born in Nebraska, but when a child of three her family moved to Los 
Angeles, Cal., and it was there she received her schooling. She had hardly 
passed from the schoolroom when she began her stage career, making her 
debut in 1903 as' a member of James Neill’s 'company, one of her most 
successful roles with this organization being Midge in “ The Cowboy and 
the Lady.” The season of 1904-05, she played a wide variety of roles with 
the Belasco Stock Company in Los Angeles. It was after this that Miss 
Wallace became identified with Eastern theatricals, appearing first with 
Ralph Stuart in “The Christian,” after which she appeared with W. H. 
Thompson, doing most delightful work as Barbara Arreton in “ The Bishop.” 
She began the season of 1907-08 with the Fawcett Stock Company in Balti¬ 
more, playing such parts as Lady Ethel in “ Raffles,” Anita Robinson in 
“ On Parole,” Simplicity Johnson in “ Lovers’ Lane ” and Bess Van Buren 
in “ The Charity Ball,” later on appearing as Viola Campbell in the Chicago 
production of “ The Witching Hour,” supporting William Morris. 


< 4 ? 


March 20 Amelia Bingham 

* I ’HOUGH Amelia Bingham has had many ups and downs during her 
* professional career, she has put up a brave fight to win public approval, 
frequently overcoming obstacles that would submerge a less capable, 
executive woman, and one cannot but admire her bravery and courage in 
facing chaos and always coming out triumphant. Miss Bingham was born 
in Hicksville, Ohio, her family name being Smiley, and she received her 
education at the Ohio Wesleyan University. She became the wife of Lloyd 
Bingham, himself an actor in those days, and thus it was that she became 
acquainted with the stage world, making her debut in McKee Rankin’s 
company. She first appeared before a New York audience on December 18, 
1893, at the People’s Theatre, in “ The Struggle of Life.” Soon after she 
was seen at Niblo’s Garden in “The Power of Gold,” and was then with 
Augustus Pitou’s traveling company. Beginning with the season of 1895-96, 
Miss Bingham’s stage fortunes took an upward turn, and the following 
were her engagements: 1895-96, in “ The Capitol,” with Aubrey Boucicault 
and Sadie Martinot in a round of Dion Boucicault plays, and in “ The Village 
Postmaster ”; 1896-97, with Robert Hilliard in “ The Mummy,” Edwin Milton 
Royle in “ Captain Impudence ” and in “ The Two Little Vagrants ” ; 1897-98, 
in “ Nature,” “ The Proper Caper ” and “ The White Heather ” ; 1898-99, in 
“On and Off,” .“ At the White Horse Tavern,” “The Cuckoo” and “His 
Excellency the Governor ”; 1899-00, in “ The Cuckoo ” and “ Hearts are 
Trumps.” Miss Bingham then became a star upon her own account, and 
has produced the following plays: 1900-01, “ The Climbers ” ; 1901-02, “ Lady 
Margaret” and “A Modern Magdalen”; 1902-03, “The Frisky Mrs. John¬ 
son ” ; 1003-04, “ Olympe ” ; 1904-05, “ Mile. Marni ” ; 1905-06, stock-starring 
season at Proctor’s Fifth Avenue Theatre; 1906-07, “ The Lilac Room ”; 
1907-08, “ A Modern Lady Godiva.” She is a thoroughly sincere actress, 
loyal and a hard worker, and she has ever striven to keep faith with her 
public, to give them the best of her time and talents. 

79 


March 21 


Sam B. Hardy 


CAM B. HARDY is making exceptionally rapid progress as a juvenile 
^ actor, and his short stage career has been productive of a rather sur¬ 
prising list of excellent engagements, in all of which his work has 
been of a highly creditable sort. Mr. Hardy was born in New Haven, Conn., 
is a graduate of Yale College and received his stage training at the Stan- 
hope-Wheatcroft Dramatic School. He made his debut behind the foot¬ 
lights in the spring of 1904, playing Lord Chichester in “ Sweet Kitty 
Bellairs,” supporting Henrietta Crosman. The season of 1904-05, Mr. Hardy 
was first with Margaret Anglin, playing Bleipyros in “ The Eternal Fem¬ 
inine,” later joining the forces of James K. Hackett, creating the roles 
of Lord Wilmot in “ The Fortunes of the King ” and Fanch in “ The House 
of Silence.” He began the following season in the dual roles of Henry Doty 
and Mr. Fox in “ The Bad Samaritan,” later appearing in stock in Toledo, 
Ohio. He began the season of 1906-07 as John Willing in “ The Education 
of Mr. Pipp,” in the support of Digby Bell, later appearing in vaudeville 
in William Gillette’s dramatic sketch, “ The Red Owl,” and was then with 
the Poli Stock, Springfield, Mass. The season of 1907-08, Mr. Hardy was 
seen as Ormsby Kulpepper in “ Marrying Mary,” with Marie Cahill, and 
the summer of 1908 he was a member of the Ferris Stock in Minneapolis, 
Minn. It is not given to many actors to make the steady progression that 
Mr. Hardy has accomplished, and, all things in proportion, his future 
would certainly appear a bright one. 



March 



Arthur 



A RTHUR LAW has done some uncommonly good work as a dramatist 
and playwright, finding a ready demand for all his plays, and he has 
been most prolific in the matter of contributions to stage. literature. 
While he has written any number of pieces during his thirty odd years as 
a playwright, only three have met with any great degree of lasting favor 
in this country, and each of these three was brought out at widely different 
intervals. The first of these, “ The Mystery of a Hansom Cab,” 1888, was 
produced in New York at the Academy of Music, with a cast headed by 
Frank C. Bangs and Bijou Heron, and enjoyed not a little popularity with 
melodrama lovers. After this came “ The New Boy,” 1894, which was 
brought out at the Standard Theatre by a company including James T. 
Powers and Jessie Busley, and proved to be a rattling good farce. Mr. 
Law’s other success on this side of the water was “ A Country Mouse,” 
1902, in which Ethel Barrymore enjoyed considerable success, and it was 
used on tour two years later by Edna Wallace Hopper. In his early youth 
Mr. Law was an actor himself, making his debut in 1872, and he flourished 
behind the footlights for about ten years in all. Finally seeing the error 
of his ways, he gave up his acting career and entered seriously upon his 
work as a dramatist. He has written any number of plays, all of which 
have had a hearing at one time or another in London, and he is very highly 
rated in the dramatist class in England. “ A Country Mouse ” is probably 
his greatest success in recent years, and it had a run of several seasons on 
the other side, with Annie Hughes in the title role. 


80 


March 23 Sir Charles Wyndham 

A STAR of the first magnitude and a great favorite upon both sides of 
^*the Atlantic, Sir Charles Wyndham holds his own with the theatregoing 
public to a wonderful degree, and he stands pre-eminent among actors 
of high comedy roles. Born in Liverpool, the son of a physician, he was 
educated in Germany and started out in life to follow in his father’s foot¬ 
steps. _ A love for the stage, however, led him to become a mummer, mak¬ 
ing his debut at the London Royalty, in 1862, in “ Carnation of Carnation 
College.” He came to this country the following year, and, failing in his 
efforts as an actor, he served in the medical department of the Federal 
Army during the Civil War. He returned to England in 1865, and for 
several years supported such stars as Kate Terry, Ellen Terry, John L. 
Toole, Henry Irving, Lionel Brough and Henrietta Hodson, returning to 
America the season of 1869-70 as leading man in Wallack’s, opening as 
Charles Surface in “ The School for Scandal.” He then went back to 
England, and since the early seventies has been a leading actor-manager 
in London, being lessee of the Criterion, Wyndham’s and New theatres, 
producing a long series of modern comedies, ranging from “ Pink Dominoes ” 
to “The Tyranny of Tears,” and from “Betsy” to “Mrs. Dane’s De¬ 
fense.” He has made three stellar tours of this country—season of 1882-83, 
at the Union Square, 1889-90 at Palmer’s, and 1904-05 at the Lyceum. 
He was knighted by King Edward in 1902. The most recent Wyndham 
success was “ The Mollusc,” produced at the London Criterion on October 
15, 1907, and proved one of the big hits of the season on the other side. 



March 24 Albert S. Howson 

A LBERT S. HOWSON is a young juvenile actor of considerable promise, 
he having gained a thoroughly good schooling in a wide variety of parts 
with the best of our stock and star companies. He is a native New 
Yorker, his father being Frank Howson, so long musical director under Daniel 
Frohman, and his family has been actively concerned in theatricals for 
several generations. Mr. Howson made his stage debut the season of 1898- 
99 as a member of the Lyceum Theatre Company, remaining four years with 
this organization, acting as stage manager, and playing small parts in 
“ Trelawny of the Wells,” “ The Manoeuvres of Jane,” “ The Ambassador,” 
“ Wheels Within Wheels,” “ Lady Huntworth’s Experiment ” and “ Frocks 
and Frills.” The season of 1902-03, he played Mr. Crager, the bridge-whist 
teacher, in “ The Stubbornness of Geraldine,” in the support of Mary 
Mannering, and for three years following this he played all manner of 
roles, ranging from boys to old men, with the Proctor Stock. Mr. Howson 
was next seen with E. H. Sothern and Julia Marlowe, the season of 1906-07, 
including the London engagement, being cast for the following roles in 
their repertoire: Paris in “Romeo and Juliet,” Osric in “Hamlet,” Curio in 
“ Twelfth Night,” Le Beau and Sir Oliver Martext in “ As You Like It,” 
the First Adventurer in “ When Knighthood was in Flower,” Amasa in 
“ John the Baptist ” and Colin and Pigachon in “ Jeanne D’Arc.” Upon the 
separation of Mr. Sothern and Miss Marlowe, the season of 1907-08, Mr. 
Howson continued in the support of the former, playing Buddicombe in 
“ Our American Cousin,” Noel Le Jolys in “ If I Were King,” Milolka in 
“ The Fool Hath Said, There is no God,” Master Nicholas in “ Don 
Quixote ” and Osric in “ Hamlet,” certainly a list in which this young 
actor may take pride. 


81 


March 25 John Le Hay 

A GREAT favorite in England and also well known to theatregoers in 
**this country, not to mention South Africa, too, John Le Hay may be 
said in all truth to be a pretty thoroughly established and popular 
operatic comedian. An Irishman by birth, his real name being Healy, Mr. 
Le Hay, after several years of novitiate experience in the English provinces, 
made his first big success as a member of the D’Oyly Carte Opera Com¬ 
pany in London, with which he remained five years. He played the role 
of Strutt in “ Dorothy,” for three consecutive years at the Prince of 
Wales’ Theatre. A few of his other big London triumphs have been in 
“ The Black Domino,” at the Adelphi, “ La Perichole,” at the Garrick, “ The 
Topsy Turvy Hotel,” at the Comedy; and “My Girl,” at the Gaiety. He 
also made several tours of South Africa with great success. If one may take 
past statistics as a criterion, Mr. Le Hay should be due for a visit to 
America in 1910, he having appeared in our midst at intervals of five years 
each for the past fifteen years. For instance, he appeared at the Broad¬ 
way in 1895 in “His Excellency,” was in “The Rose of Persia” at Daly’s 
in 1900, later appearing in vaudeville over the Keith circuit and was back 
at the Broadway in 1905 in “ Veronique.” Since his last appearance in this 
country, Mr. Le Hay has been devoting himself principally to the English 
music halls, playing a sketch entitled “ Poor Beggar.” He is a most humor¬ 
ous comedian, with distinctly clean-cut, polished methods, and it is quite 
easy to comprehend his vogue in the stage world. 


March 26 


Gerald du Maurier 


ERALD DU MAURIER is one of the reigning favorites of the London 
stage, and not a season passes but what he originates several char- 
acters. A son of the famous George Du Maurier, he was born in 
Hampstead and educated at Harrow. Though fond of all things artistic, 
he had little inclination to follow in his father’s footsteps, his tastes leading 
him toward the stage door. He made his debut in 1894 with John Hare in 
. An Old Jew,” shortly afterward supporting Forbes Robertson. In 1895 he 
joined Beerbohm Tree’s company, with whom he remained a number of 
years, and made his American debut in the support of that actor during the 
season of 1897-98. appearing at the Knickerbocker Theatre. Among some 
of the roles ^that he played here with Tree may be mentioned: Rosencrantz 
J* 1 ‘Hamlet,” Lieutenant Ferney in “The Seats of the Mighty,” Reginald 
Shngsby in The Dancing Girl” and Zou Zou in a dramatization of his 
lather s book, “ Trilby.” In February, 1900, Mr. Du Maurier appeared with 
Mrs. Patrick Campbell at the Royalty Theatre, playing a large variety of 
r 5 le A in her support over a year, and then came an engagement at the Prince 
of Wales Theatre in A Country Mouse.” After this he was with John 
Hare m Little Mary, ’ and then in “ The Admirable Crichton.” He began 
the season of 1904-05 with Eleanor Robson in •‘Merely Mary Ann” at the 
Duke of Yorks 1 heatre, and afterward played Hook, the pirate, in “Peter 
Pan and the title role in Pantaloon. ” these two parts placing him upon 
top pedestal of favor with England’s theatregoers. Mr. Du Maurier 
divided the following season with Ellis Jeffreys in “On the Love Path”" 
with a revival of “ Peter Pan ” and with Marie Tempest in “ All-of-a-Sudden 
°2 I2 A 1906 J h e created the title role in the London production 
ot Raffles at the Comedy Theatre, which he plaved until December of that 
year, when he was once again seen in “ Peter Pan,” and on May 1 1007 

he appeared at the Hicks Theatre as Montgomery Brewster in “ Brewster’s 
Millions; In the spring of 1908, Mr. Du Maurier was seen at the Duke 
of York s m the revival of The Admirable Crichton.” 


82 


March 27 


Phoebe Davies 


pHCEBE DAVIES is certainly a long-suffering actressy, having played 
practically but three roles within the last sixteen years! Previous to 
this time, oddly enough, her career was one of unusual activity, play¬ 
ing even more than the average number of roles that fall to an actress during 
a season. Miss Davies came into the world in Wales, but when a child 
of seven her family came to the United States, settling in San Francisco, 
where she was educated at the public schools. She made her stage debut 
in 1882 in ’Frisco as a member of the California Theatre Stock, playing 
small parts and ingenues. Shortly afterward she became a member of the 
Baldwin Theatre Stock in the same city, where she remained several years, 
gaining a large repertoire of parts in the support of various well-known 
stars who appeared in the company. Miss Davies then married Joseph 
Grismer, in those days an actor himself, and, after appearing on tour 
as Dot in “ A Midnight Bell,” she and her husband co-starred in the West 
for several years in a large repertoire of plays. Miss Davies became identi¬ 
fied with Eastern theatricals the season of 1892-93, playing Georgia Gwynne 
in “ The New South,” in which piece she was seen three seasons, and then 
came two years as Alma Dunbar in “ Humanity.” The season of 1897-98* 
she creaited Anna Moore in “ Way Down East,” and has been playing this 
part ever since, aside from about four weeks, in the spring of 1901, when she 
created the title role in “ Betsy Ross,” which promptly fell by the wayside. 
Her Anna Moore is a wonderfully effective piece of acting, full of delicate 
emotional touches, but it seems a pity that eleven consecutive years of 
her career should be devoted to one part. Miss Davies is too good an 
actress to thus allow herself so little artistic growth. 




Marble 



T HOUGH Mary Marble’s name has not figured conspicuously in Broad¬ 
way theatricals, her reputation and following have attained enormous 
proportions in the outlying districts, especially through the South and 
Middle West, and as an actress of soubrette roles she enjoys quite an 
enviable amount of public favor. Born in Chicago, Ill., and educated at St. 
Francis Xavier’s Academy there, Miss Marble is a daughter of the late William 
Marble, himself well known in theatrical circles. Miss Marble scored her 
first success as Dimples in “ Off the Earth,” supporting Eddie Foy, and 
was most successful for several years as the Orphan in “ A Milk White 
Flag.” She also appeared in the West as leading woman with Mathews 
and Bulger in “ The Night of the Fourth.” Beginning with the season 
of 1901-02, and for three years altogether, Miss Marble toured the South 
with’ the Bijou Musical Comedy Company, playing such parts as Lida 
Skiddons in*“ A Black Sheep,” Grace Holme in “A Contented Woman,” 
Bossy in “ A Texas Steer,” Baggage in “ A Brass Monkey,” Hattie in 
“A Stranger in New York,” Teddy Keys in “A Bunch of Keys,” Estelle 
Coocoo in “The Telephone Girl” and Cissy in “What Happened to Jones.” 
The season of 1904-05, Miss Marble starred in the title role in “ Nancy 
Brown,” in which piece she continued on tour two seasons, and then came 
a season as leading woman in “ Wonderland.” She was seen on the road, 
during 1907-08, in the principal part in “ Dream City.” Of a slight, graceful, 
petite personality, Miss Marble is a charming comedienne, and it is highly 
probable that she will some day know Broadway fame to the same extent 
as that in which she is now esteemed on the road. 


Mabel Fenton 


March 29 

A CLEVER comedienne is Mabel Fenton, one thoroughly conversant with 
the finer points of the artistry of burlesque, and she has been accorded 
a position enjoyed by few women in her particular line. Possessed with 
a most engaging fund of humor, a personality both magnetic and attractive, 
and an intimate knowledge of the technique of the actor’s art, a factor 
most often missing in burlesque comediennes, she has climbed steadily 

into public favor and now stands in 
the front ranks of our principal fem¬ 
inine fun-makers. Miss Fenton’s 
early stage days were devoted to the 
field of the “ legitimate,” soon be¬ 
coming the wife of Charles J. Ross, 
the popular comedian, and as Ross 
and Fenton this clever couple built 
up a reputation in vaudeville that 
extended from coast to coast, pre¬ 
senting a number of burlesques of 
famous plays. Many theatregoers, 
however, will recall Miss Fenton’s 
admirable work in the support of 
Donnelly and Girard as the widow in 
“ The Rainmakers.” It was not 
until her association with Weber and 
Fields at their Broadway Music Hall 
that Miss Fenton came into per¬ 
manent Broadway favor, being a 
member of the original company, 
opening in 1896 in “ The Geezer.” 
She was with this organization just five years in all, and her personal 
triumph, along the lines of mimicry and burlesque, crowded fast upon 
her, a few of her biggest being as Tess of the D’Urbervilles, as Glory 
Hallelujah in the burlesque of/‘‘The Christian,” and the name parts of 
“ Barbara Fidgety ” and the satire upon “ Zaza.” As one well-known critic 
once said of her in very truth, “ Nobody can get away with burlesque like 
Miss Fenton when she has half a chance, for she is a clever and indomitable 
woman.” The season of 1900-01, she appeared at the New York Theatre in 
“ The Giddy Throng ” and the travesty of “ Nell-Go-In,” after which she 
was not seen in the public eye for some little time. Joining forces with 
Mr. Ross, she re-entered the vaudeville arena in 1903, presenting a satire 
upon “ Oliver Twist,” her portrayal of Nancy Sikes winning high praise 
indeed. Miss Fenton then returned to the Weber and Fields’ fold, appear¬ 
ing in “ Whoop-Dee-Doo,” and she enjoyed the distinction of being the only 
woman appearing in the support of the German comedians at their pro¬ 
fessional separation who was also a member of their company at the be¬ 
ginning of their stellar career. She then co-starred with Mr. Ross in “ Twirly 
Whirly,” appeared on touf in “ The Winning Girl,” was at the Casino in 
“ The Social Whirl ” and her most recent work has been in Joe Weber’s 
company in “ The Merry Widow ” burlesque. Miss Fenton is a woman 
of brains and talent, most interesting both on the stage and off, and her 
career shows the superabundance of ability that she has brought into all 
her work. 



84 



March 30 De Wolf Hopper 

P)E WOLF HOPPER, whose name has long been a household word in 
comic opera land, has had an unusually successful stage career, having 
been a stellar light for sixteen years altogether, producing only eight 
operas in all that time, too, and his personal popularity is of superlative 
proportions. With an abundance of humorous wit, a deep, cavernous voice, 
and a physique of elongated proportions, he has many necessary qualifica¬ 
tions for a famous fun-maker, and certainly no one could ask for greater 
public recognition than he has known. Mr. Hopper was born in New York 
City, being a son of John and Rosalie (De Wolf) Hopper, and was educated 
at the J. H. Morse School. Though it was intended that he should follow 
in the paternal footsteps and become a lawyer, Mr. Hopper had the stage 
bee in his bonnet to such an extent that he abandoned all thoughts of 
Blackstone for the more fascinating allurements of the footlights. As a 
member of the Criterion Comedy Company, Mr. Hopper made his stage 
debut on November 4, 1878, at New Haven,. Conn., as Talbot Champneys 
in “ Our Boys.” He remained with this company two years, playing in 
“ Caste ” and “ Our Daughter,” in which latter piece he made his first 
appearance on the New York stage, at Haverly’s Theatre, September 15, 
1879. His principal engagements during the next few years were with 
Ada Gilman in “ One Hundred Wives ” and Edward Harrigan in “ The 
Blackbird.” The season of 1884-85, Mr. Hopper appeared on the road with 
the Madison Square Theatre Company in “ Hazel Kirke ” and “ May Blos¬ 
som.” He became an operatic comedian the season following this, and for 
five years was principal laugh-maker with the McCaull Opera Company, 
appearing in such pieces as “ The Black Hussar,” “ The Beggar Student,” 
“ The Lady or the Tiger,” “ Falka,” “ Boccaccio,” “ Clover,” and “ Fati- 
nitza.” Mr. Hopper then made his debut as a star, producing the following 
operas: “Castles in the Air,” 1890; “Wang,” 1891; “Panjandrum,” 1893; 
“Dr. Syntax,” 1894; “El Capitan,” 1896; and “The Charlatan,” 1898. He 
made his debut on the London stage July 10, 1899, presenting “ El Capitan,” 
and on December 13th, of that year, produced “ The Mystical Miss ” 
(“Wang”). Returning to America, Mr. Hopper, the season of 1900-01, 
became a member of Weber and Fields’ company, where he remained two 
years, after which he was seen again at the head of his own company, play¬ 
ing “ Mr. Pickwick,” 1902; a revival of “ Wang,” 1904; and “ Happyland,” 
1905, continuing in this last mentioned opera ever since. 


^ ^ 

Like an army defeated 
The snow hath retreated, 

And now doth fare ill 
On the top of the bare hill; 

The plough-boy is whooping. Anon. Anon. 
There is joy in the mountains, 

There is life in the fountains; 

Small clouds are sailing, 

Blue skies prevailing— 

The rain is away and gone. 

—Wordsworth, “ Written in March .” 


85 


March 3 I 


Gwendolyn Lowrey 

A DECIDEDLY talented young player is Gwendolyn Lowrey and many 
have been the bright prophecies for her future. Her career promises 
a most generous development, especially if one may take her past work 
as a criterion, and, all things being equal, there is every reason to believe 
that her development will be both prompt and praiseworthy. Miss Lowrey 
has been before the public an incredibly short time, only a season in all, yet 

she is already beginning to make .her 
mark in the stage world, and small 
wonder that she takes every pride in 
what she has accomplished thus 
early in her career. But, at the 
same time, it must be borne in mind 
that very few girls are as well 
equipped as she at the beginning of 
their careers, though all the more 
credit to her that she has put to 
such timely use all of her natural 
advantages. Miss Lowery is a New 
York girl by birth, and from earliest 
childhood has been a devotee of 
the theatre and things theatrical. 
Scarcely were her schooldays over 
when she decided to adopt the stage 
professionally. Having devoted not 
a little time and attention to the cul¬ 
tivation of her voice, she being the 
possessor of an exceptionally beau¬ 
tiful contralto voice, rich, deep and 
full, of which many competent critics have spoken in most enthusiastic 
praise. Miss Lowrey found a ready opening as a ballad soloist at one 
of Ted Marks’ famous Sunday-night concerts. Her success was imme¬ 
diate and unequivocal, and many were the offers that she received from 
managers of musical attractions, they being anxious to obtain the services 
of this embryo light-opera artiste. But Miss Lowrey did not feel quite 
equal, in her novitiate state, to venturing upon the undertaking of a leading 
operatic role, so in order to become more familiar with the routine of stage 
work, she accepted an engagement in vaudeville, doing a neat singing specialty 
over the leading Eastern circuits. This, at least, gave her confidence in her 
powers, a stronger belief in her ability to entertain the public, so that when 
Jesse Lasky offered her the leading part of Mazie in his vaudeville tabloid 
operetta, “A Night on a House-Boat,” she not only came off with flying 
colors, but assumed the role with only one previous rehearsal, rather a brave 
feat for a comparative beginner. If pluck and determination, added to talent 
and enthusiasm, count for anything in one’s stage development—and they 
are a pretty forceful combination in any profession,—then the name of 
Gwendolyn Lowrey is pretty sure to occupy a conspicuous place in the 
theatrical history of to-morrow. She has made a plucky fight at the be¬ 
ginning, and is pretty sure to find herself high in favor ere many seasons 
have passed. 



SG 





FANNY DAVENPORT. 


Born, April io, 1850, 


Died, September 26, 1898. 













































. 































































■ 
















t 















April 1 Flora Zabelle 

IN the realm of musical comedy the name of Flora Zabelle stands forth 
conspicuously, not only in point of achievement, but also in promise of 
even greater talents yet to be revealed. During the comparatively short 
time she has been before the public she has proven her right to be accepted 
among the cleverest and most talented of our younger operatic generation, 
and succeeding seasons find her hold upon the public growing stronger 
and stronger. As one may tell from 
her dark, spirited type of beauty,, 
with its rich, brilliant coloring. Miss 
Zabelle is not a native American, she 
having been born in Constantinople, 
and her father, Rev. M. M. Man- 
gasarian, is probably the most fa¬ 
mous Armenian minister in this 
country to-day. She was brought to 
America by her parents when a mere 
child, the family locating in Chicago. 

It was in the Windy City that Miss 
Zabelle grew into womanhood, and 
there, too, she began her theatrical 
career, making her debut in the late 
'go’s in the chorus of the Castle 
Square Opera Company. It was the 
season of 1900-01 that she received 
her real start, creating the role of 
Poppy in “ San Toy,” at Daly’s, 

After a few months in this part 
she. was advanced to the title role, 
showing that even thus early her talents were appreciated. The fol¬ 
lowing season she re-appeared upon Daly’s stage as Isabel Blythe in 
“ The Messenger Boy,” her singing of the song “ Mazie ” proving one 
of the most alluring song hits of that season and is still happily remem¬ 
bered. It was after this that Miss Zabelle joined the forces of Raymond 
Hitchcock, and, with the exception of one season, she has been his leading 
woman ever since, she having become Mrs. Hitchcock on May 5, 1905. 
She was Annette in “ King Dodo ” one season, was a particularly fetching 
Bonita in “ The Yankee Consul ” for two years and was a sprightly Sadie 
Collins in “ Easy Dawson.” Miss Zabelle then became one of the stellar 
lights that surrounded Joe Weber and had a conspicuous place in “ Twiddle- 
Twaddle” at Weber’s Music Hall. She then returned to Mr. Hitchcock’s 
support, and as Grace Whitney in “ A Yankee Tourist ” won many addi¬ 
tional honors. Miss Zabelle’s professional road has been comparatively 
an easy one, but then she is uncommonly blessed with a dashing, fascinating 
personality, the power to win and hold her audience’s attention, and a per¬ 
sonal magnetism that is most compelling—with which attributes her success 
is well understood. 



89 




April 1 Carrie De Mar 

/^ARRIE DE MAR stands pre-eminent as a comedienne of exceptional 
charm and ability. This fascinating, dainty little woman, with her 
breezy, scintillating manner, is one of the theatregoing public’s special 
favorites, and her circle of admirers is constantly increasing, for she is 
keenly alive to the fact that brains and talents, added to progressiveness, 
are the leading factors by which those in favor in the stage world man¬ 
age to climb to higher heights. Miss 
De Mar is a sprightly, vivacious 
comedienne, full of animation and 
high spirits, fairly bubbling over 
with merriment and gayety, and she 
can drive away dull care with the 
surety of the experienced farceur. 
She has figured in some of the big¬ 
gest stage successes of the day, and 
few of our theatre-lovers will ever 
forget her excellent work in many 
past successes. The summer of 
1906, Miss De Mar was the big star 
feature of the New York Theatre 
Roof Garden, playing the principal 
role in the burlesque, “ Seeing New 
York,” and her name was upon 
everyone’s lips for the remarkably 
clever work that she did during that 
engagement. This was followed by 
an appearance as the Chorus Girl 
in “ The Land of Nod,” which role 
brought her one rung further up the 
professional ladder, her admirable 
comedy talents having special outlet 
in this role. Miss De Mar’s most 
recent endeavors have been as a 
. . star headliner in vaudeville and 

her original methods of rendering a song, with all her many little char¬ 
acteristic touches, soon placed her in an independent position, making 
her one of the biggest favorites in that field during the season 1907-08. 
An indefatigable worker is Miss De Mar, enthusiastic and sincere, and her 
professional outlook is of the brightest, probably bringing to her even greater 
glories than those of the past. 



' 4 ' 4 * 


There is no glory in star or blossom 
Till breathed upon by a loving eye; 

There is no fragrance in April’s breezes 
Till breathed with joy as they wander by. 

—Bryant’s “ An Invitation to the Country.” 


90 



April 2 Robert V. Ferguson 

O OBERT V. FERGUSON is acknowledged to be one of our most capable 
character actors, having done exceptionally good work in the support of 
Mrs. Fiske, and he has contributed a number of character sketches to 
the New York stage that do him decided credit. He first appeared in the 
support of Mrs. Fiske the season of 1899-00, creating the role of Sir Pitt 
Crawley in “ Becky Sharp,” playing it two seasons, and he made this role 
so peculiarly his own that he has assumed it upon two subsequent revivals. 
The season of 1901-02, Mr. Ferguson was first with Charles Dalton in “ The 
TJo1mat - ^ Moirarte” tVipn with Frank Keenan in “Hon. John Grigsby” 

Kidder in “ A Country Girl,” and 
ed Eccles in “ Caste,” on the road, 
in “ The Bonnie Briar Bush.” He 
appearing first in “ Becky Sharp,” 
ah Kleschna.” The next year he 
ut returned to the Fiske fold for 
lemy of Music, and the season of 
ess, creating Tom Fiddler in “ The 
1 tour with Mrs. Fiske in the fall 
id “ Tess of the D’Urbervilles,” and 
Calich’s company, playing Jose in 
>n is a Scotchman by birth, having 
ton. He has been identified with 
Tony Pastor’s in a farce called 
d, later appearing with Charles A. 
herland,” and was in the original 
at the Fourteenth Street Theatre. 
1 are sure of seeing a good piece of 
ction at hand. 



id by a blossom, 
js and laughter blent; 

Apple blooms upon the breezes toss them— 

April knows her own, and is content. 

—Susan Coleridge’s “April.” 


91 



April 3 Margaret Anglin 

M ARGARET ANGLIN’S position in the theatrical world is now one 
of undisputed eminence, and she has few peers as an emotional actress, 
being regarded by many as the foremost interpreter of emotional roles 
on our stage to-day. She has fought a brave fight for recognition, and her 
professional glories are of a calibre that should please even the most ambi¬ 
tious. Miss Anglin was born in Ottawa, Canada, her father being a Speaker 

of the House of Commons. She 
was educated at Loretto Abbey, 
Toronto, and the Convent of Sault 
Recollet, Montreal. Braving family 
opposition, she came to New York 
and studied for the stage under the 
late Nelson Wheatcroft. She made 
her debut, the season of 1894-95, as 
Madeline West in “ Shenandoah,” 
appearing on tour the season fol¬ 
lowing with Rholf’s Repertoire 
Company. She then spent a season 
with James O’Neill, playing Ophelia 
in “ Hamlet,” Julie in “ Richelieu,” 
Virginia in “ Virginius ” and Mer¬ 
cedes in “ Monte Cristo.” Miss 
Anglin next joined E. H. Sothern 
as understudy to Virginia Harned 
and played Meg in “ Lord Chumley,” 
after which she starred for a brief 
time in Canada in a repertoire con¬ 
sisting of “As You Like It,” “The 
Mysterious Mr. Bugle ” and “ Christopher, Jr.” It was the season of 
1898-99 that saw the turning-point in Miss Anglin’s career, she appearing 
on the New York stage that season with Richard Mansfield as Roxane, 
in “ Cyrano de Bergerac ”; with James O’Neill, as Constance, in “ The 
Musketeers ”; and with Charles Coghlan, as Heloise Tison, in “ Citizen 
Pierre.” She began the next season as Mimi in “ The Only Way,” sup¬ 
porting Henry Miller, and on January 16, 1900, she became leading woman 
of the Empire Theatre, which position she held until 1903, appearing in: 

“ Brother Officers,” “ The Bugle Call,” “ Mrs. Dane’s Defense,” “ Diplo¬ 
macy,” “The Wilderness,” “The Twin Sister,” “The Importance of Being 
Earnest ” and “ The Unforeseen.” The season of 1903-04, she co-starred 
with Henry Miller in “ The Taming of Helen,” “ Camille,” “ The Devil’s 
Disciple,” “ The Aftermath,” “ D’Arcy of the Guards ” and “ Cynthia ”; 
going it alone the year following in “ The Eternal Feminine,” “ A Wife’s 
Strategy” and “ Zira ”; followed by a term in San Francisco in “The 
Marriage of Kitty,” “The Lady Paramount,” “Frou-Frou,” “The Cross-, 
ways,” “ Mariana ” and “ The Second Mrs. Tanqueray.” Miss Anglin was 
seen, during 1905-06, in “ Zira ” and for a few performances “ Young Fer- 
nald,” and for the past two years she and Mr. Miller have been starring 
most triumphantly in “ The Great Divide.” In the spring of 1908, Miss 
Anglin departed for Australia, where she is to make a six months’ tour in 
“ Zira,” “ The Thief ” and “ The Awakening of Helena Richie,” and upon 
her return to this country she intends starring in the third mentioned piece. 



92 




April 3 Winifred Voorhees 

'W 7 INIFRED VOORHEES, capable and talented, with an infinite capacity 
* * for accomplishing only the things most worth while, has started out 
upon a stage career which promises a fulfillment the like of which 
should satisfy even the most ambitious. She is richly endowed with a 
personality of delicate womanliness, temperamentally receptive and sym¬ 
pathetic, and certainly there is no reason in the world why the very best 
of stage fame should not be her 
portion. A native New Yorker, Miss 
Voorhees had exceptional advan¬ 
tages in the way of an education, 
being a fluent linguist and on most 
intimate terms with both the piano 
and violin. She is the possessor of 
a lyric soprano voice of exceptional 
power and range, and it is not an 
improbable thing that the operatic 
stage will claim her talents ere long, 
as our musical critics are a unit in 
proclaiming a brilliant future for her 
in this line. To date, however, Miss 
Voorhees has devoted her talents to 
the dramatic stage, in which field, 
too, she has won not a few laurels. 

She began her career, the season of 
1903-04, as one of the “ and others ” 
in David Belasco’s production of 
“ Sweet Kitty Bellairs,” supporting 
Henrietta Crosman, and in which she 
also understudied Katherine Florence in the leading ingenue role of Lady 
Julia Standish. The next season Miss Voorhees appeared in the West 
with Amber Lawlord in one of the leading roles in “ An American 
Woman,” in which she carried off most of the honors, the critic on the 
Omaha Bee writing of her performance, “ She portrayed the author’s care¬ 
fully drawn work with an ability bordering closely upon genius.” She next 
appeared with the Yorkville Stock Company, winning particular favor for 
her creation of the part of Fanchette in “ The Red Carnation,” supporting 
Odette Tyler. Miss Voorhees was then seen on tour in the leading role 
of Phyllis Ericson in “ When We were Twenty-one,” being highly praised 
by the Canadian critics for her work in this part. She was next seen at 
Daly’s Theatre as Polly Nevins in the short-lived production of “ The 
Optimist,” and her most recent work was in a vaudeville offering, managed 
by Henry Pincus, which played an extended term at the Payret Theatre 
in Havana, later touring the leading Cuban cities. Miss Voorhees is a 
tremendously ambitious girl, mentally alert, full of enthusiasm, keenly re¬ 
sponsive to the beauty in her art, and ’tis a safe wager that she has many 
bright things before her, a fitting reward for so brainy an actress. She has 
certainly accomplished a great deal during her few years on the stage, 
preparing herself carefully for the day of bigger things, and that her “ day 
of bigger things ” is not far off is a fact admitted by the critics and public 
alike. 



93 




April 4 


Elizabeth Saunders 


/'"'VNE of the ’ oldest living actresses of the present time is Elizabeth 
Saunders, long since retired and living in San Francisco. She was 
quite successful in her young days, but, naturally enough, her name 
has no significance whatever to the present generation. Mrs. Saunders was 
born in Philadelphia in 1819, and in her veins flows the bluest of stage blood. 
She is a great-grand-daughter of Thomas Jefferson, the grand-daughter 
of the first Joseph Jefferson, and her parents were William and Euphemia 
(Jefferson) Anderson. Her sister is Jane Germon, the retired Baltimore 
actress, and she is a first cousin to “ Rip ” Jefferson, aunt to Effie Germon 
and a cousin of the famous William Warren. Mrs. Saunders began her stage 
career in 1834 in Washington, D. C., in the support of her grandfather, 
playing Donna Cecily in “ The Midnight Hour,” a few years later playing 
Gretchen to the Rip of her grandparent. In 1837, Miss Anderson, as she 
was known in those days, became the wife of Jacob Wonderly Thoman, 
shortly afterward joining the Boston Museum Stock, with which she 
remained for over ten years. She went to San Francisco in 1853, and became 
a member of the stock at the old California Theatre. She then secured a 
divorce from her husband, and married Charles Saunders, who left her a 
widow in 1863. Mrs. Saunders remained at the California Theatre many, 
many years, supporting all the prominent stars of the period, and she gave 
up active stage service over twenty-five years ago, her last role being Mrs. 
Skewton in “ Dombey and Son,” in the support of Mr. and Mrs. William 
J. Florence, though she has appeared in public once since then, with McKee 
Rankin in “ William and Susan,” in ’Frisco, in the middle eighties. Mrs. 
Saunders, now quite aged and infirm, still lives in the California metropolis, 
surrounded by a large circle of devoted friends, quietly awaiting the final 
fall of her life’s curtain. 






Alberta Gallatin 


5 


'“THE name of Alberta Gallatin is one of special import in the outlying 
* districts, she having starred at the head of her own company in the 
smaller cities for the past seven years. Miss Gallatin is a Virginian 
by birth, her family name being Jenkins, and she is a daughter of General 
Albert Gallatin Jenkins, who distinguished himself in the Civil War. After 
gaining an education at the Mary Institute, St. Louis, she began her stage 
career in the company of Mrs. D. P. Bowers, gaining an excellent training 
in the extensive repertoire of that actress. She was then engaged by Daniel 
Frohman as general understudy in the Lyceum Theatre Company. Miss 
Gallatin first attracted any special attention on May 26, 1892, when she 
appeared at the Madison Square Theatre as Rosalind in a special matinee 
of “ As You Like It,” with Otis Skinner as Orlando. She then appeared 
in the support of such stars as Richard Mansfield, Thomas W. Keene and 
Joseph Jefferson. Beginning with the season of 1896-97, and for the three 
years following, Miss Gallatin was seen with E. H. Sothern in “ An 
Enemy to the King,” Mrs. Fiske in “ Love Finds the Way,” with the 
Thanhouser Stock, Milwaukee, with Henry Miller in “ Hamlet,” playing 
Ophelia, and leads with the Girard Avenue Stock, ‘Philadelphia, and the 
Giffen Stock, Denver. In the spring of 1900, Miss Gallatin made her debut 
as a star, continuing at the head of her own company ever since, having 
presented the following plays: “ Sapho,” “ Nell Gwynne,” “ As You Like 
It,” “ Ghosts,” “ A Clean Slate,” “ Cousin Kate,” “ Dorothy Vernon of 
Haddon Hall” and “Judith of the Plains.” 


94 


Keith Wakeman 


April 6 

/\ HANDSOME and distinguished actress, one with a reputation in both 
America and England, Keith Wakeman gained much favor on Broad¬ 
way in February, 1908, by her work in the support of the Shakespearean 
actor, Henry Ludlowe, being roundly praised for her Portia in “ The Mer¬ 
chant of Venice ’ and Lady Anne in “Richard III.” She proved to be 
a surprisingly capable leading woman, one seen all too seldom on Broad¬ 
way. Born in Oakland, Cal., where her family still reside, Miss Wakeman 
got her start up the theatrical ladder in a traveling company in “ Jim the 
Penman.’ After appearing on tour in “The Exiles,” Miss Wakeman spent 
one season playing important parts in the support of Edwin Booth and 
Lawrence Barrett, where she gained invaluable Shakespearean training. For 
three years after this she appeared in E. S. Willard’s company, including 
a season in London. She remained on the other side for two years, 
appearing in “ The Sign of the Cross ” and “ The Mariners of England.” 
She returned to this country the season of 1897-98, again in Mr. Willard’s 
support, playing Lady Valerie Camville in “ The Physician ”*and Mrs. Reffel 
in “ The Rogue’s Comedy.” The season following Miss Wakeman was 
back in London, playing at the Adelphi with Fred Terry in “ The Gypsy 
Earl,” after which she toured the provinces for a year. Returning to her 
native land, Miss Wakeman played leading roles with the Frawley Stock 
Company in San Francisco, after which she was off the stage for several 
years, spending the time in study and travel abroad. She took up active 
work again in the summer of 1906, oddly enough taking up harness with the 
Frawley Stock in Reading, Pa. The season of 1906-07, Miss Wakeman 
was leading lady with Otis Skinner, playing the Duchess de Chailles in 
“ The Duel.” Then came her appearance with Mr. Ludlowe. 




Madge McIntosh 

/^\NE of England’s most effective and sympathetic players, Madge Mc- 
Intosh has figured all too little in American theatricals, and most 
regrettably so, for she made a most excellent impression upon us dur¬ 
ing her two appearances in this country. Miss McIntosh was born in 
Calcutta, India, of English parentage, and was educated in London. She 
studied for the stage under Hermann yezin and Emil Behnke, and her 
first years behind the footlights were devoted to the Shakespearean touring 
companies of F. R. Benson and Ben Greet. Miss McIntosh made her 
debut on the American stage during the season of 1898-99 as leading lady 
with Olga Nethersole, doing notably fine w r ork in the repertoire of that 
actress. She was then a member of Edward Compton’s company in London, 
and on tour, and figured conspicuously in several provincial companies. The 
season of 1904-05. Miss McIntosh re-appeared in our midst, supporting 
Forbes Robertson at the Knickerbocker as Miss Wagoneur in “Love and 
the Man ” and Gertrude in “ Hamlet.” Since her return to England she 
has figured in any number of prominent London productions, being especially 
successful as the Goddess Aphrodite in the “ Hippolytus ” of Euripides, at 
the Court, as the Virgin in “ The Virgin Goddeess,” supporting Oscar Asche 
and Lily Brayton, at the Adelphi, and as Josephine in “ The Great Con¬ 
spiracy,” with John Hare, at the Duke of York’s. Miss McIntosh went to 
Australia in the summer of 1907, and, in company with Harcourt Beatty, has 
been starring in melodramas in the antipodes ever since. She is an excep¬ 
tionally talented actress, and we would that she appeared with greater 
frequency on the American stage. 


April 8 


95 


Mildred Holland 


April 9 

A N actress of infinite variety and undeniable personal charm, Mildred 
Holland has won a distinctive and permanent place among our leading 
stellar lights. The quiet dignity and unobtrusiveness with which she 
pursues the even tenor of her way, gaining all the while in fame and popu¬ 
larity, is a strong object lesson to those of her less favored professional 
associates. She believes in progression by means of talent and ambition, 

with the determination to do things 
really worth while, and the success 
accorded her has proven her theory 
to be an excellent one. Miss Hol¬ 
land has had a singularly fortunate 
career, playing leading roles from 
the beginning. She made her debut 
in Albany, N. Y., being the first 
actress to play Wallalia in Hanlon’s 
“ Superba,” in which part she was 
most successful for two years. Fol¬ 
lowing this she played the leading 
role of Diana in “ Paul Kauvar.” 
After a brief absence from the stage, 
owing to ill health, Miss Holland be¬ 
came a member of Augustin Daly’s 
company, playing parts next in im¬ 
port to Miss Rehan, such as Lady 
Sneerwell in “ The School for Scan¬ 
dal ” and Maria in “Twelfth Night.” 
The season of 1897-98, she obtained 
the rights to “ The Two Little Va¬ 
grants,” faring forth as a star in the role of Fan Fan, and for the 

past ten years she has occupied an unrivaled position at the head of her 
own company. She played the “ Vagrants ” three years in all, her ten¬ 
der, emotional work in this play being warmly praised. Then came 

two seasons in “ The Power Behind the Throne,” one in “ The 
Lily and the Prince,” two in “ The Triumph of an Empress ” and 
two in “ A Paradise of Lies ”—in each of which she knew phenom¬ 
enal public favor. In addition to these, Miss Holland has made several 
special productions of such plays as “ Sapho,” “ Divorgons ” and “ East 
Lynne ”; and an entirely new piece, “ The Provider ”; and three new 
one-act plays, “ Lotus Blossom,” “ One Short Hour ” and “ Clarice the 

Actress.” An actress of wonderful executive ability, Miss Holland per¬ 

sonally directs all her productions, engages the players, directs the stage and 
has entire charge of everything behind the curtain line. She is a tireless, 
faithful worker, ever anxious to please her public, always seeking to put 
forth her best efforts. Of a naturally artistic nature, keenly receptive to 
only what is best in the drama, Miss Holland has certainly earned by 
enthusiasm and application and the most fair methods, the admiration and 
respect of the theatregoing public, and that she will continue to maintain 
the high standard that she has so long upheld, there is no question in the 
minds of those who have watched the growth and development of this 
clever, attractive and brainy young artiste. 



96 




April 1 0 


Fanny Davenport 


FRANNY DAVENPORT, the very mention of whose name recalls a flood 
-*■ of pleasant recollections, certainly had a long and triumphant reign 
in American theatricals, and as an actress of strong emotional roles 
she held her own at the very top of the ladder for many years. A rarely 
beautiful woman, imperious and distinguished, every inch the tragedy queen, 
small wonder that our theatregoers paid her homage season after season, and 
her early death took from our midst an exceptionally talented and gifted 
actress, one who, to all appearances, had many brilliant, useful years before 
her. Miss Davenport was one of the most indefatigable workers of her time, 
and while all of our present-day theatregoers can recall her vivid work in 
the bizarre Sardou dramas, it was even before this that she did some of her 
most notable work. As a member of Daly’s company she scored one triumph 
after the other, her Shakespearean gallery alone including Rosalind, Beatrice, 
Lady Macbeth, Imogen, Mistress Ford, Ophelia and Rosaline, while in the 
old comedies she played Lady Gay Spanker, Letitia Hardy, Peg Woffington, 
Kate Hardcastle and Lady Teazle. Miss Davenport brought out the Sardou 
plays in 1883 and continued in them almost exclusively up to the time of 
her death, and it will be a long time before the glories of her Fedora, Tosca, 
Cleopatra and Gismonda will pass away. She was a remarkable woman in 
many ways, with an infinite capacity for hard work and a loyal devotion to 
her profession. An uncommonly fine artiste, Fanny Davenport, and a great 
pity it is that she was not spared to us longer. 


April I I 




Leonard Boyne 


A LEADING actor on the English stage, and one whose name is quite 
well known to theatregoers on this side of the Atlantic, Leonard Boyne 


has been an active participant in theatricals for over thirty-five years. 
He was born in Westmeath, Ireland, and began his stage career at the 
Theatre Royal, Liverpool, in 1871. His early years as an actor were 
largely devoted to provincial companies, first winning attention as leading 
man with Ada Cavendish. From then on Mr. Boyne’s services were in great 
demand in all the leading London theatres, a few of his biggest successes 
being at Toole’s Theatre with R. C. Carton in “ Imprudence ” and “ His 
Last Legs,” then on tour in Wilson Barrett’s “ Claudian,” at the Vaudeville 
in “ Tom Jones,” at the Opera Comique in “ Ariane,” at the Princess in 
“ Theodora ” and at Drury Lane in “ The Armada,” “ The English Rose ” 
and “ The Prodigal Daughter.” It was in this last mentioned play that 
Mr. Boyne made his debut on the American stage, appearing at the American 
Theatre, May 22, 1893, and he was seen at this same playhouse exactly 
a year ’later' in Sister Mary.” After returning to London he made a 
bi«- success in “ Sporting Life,” at the Shaftesbury, and for a long time 
was leading man with Marie Tempest in “ Becky Sharp ’ and ‘ The Marriage 
of Kitty.” He accompanied Miss Tempest to our shores during 1903-04, 
and was greatly liked in his original role in “ Kitty.” Mr. Boyne has since 
played in London with Lena Ashwell in “ Leah Kleschna,” and in “ The 
Stronger Sex.” He has lately been touring with great success in the title 
role in “ Raffles.” An actor who knows his art backwards, Mr. Boyne 
deserves every possible artistic recognition. 




April 12 


Tim Murphy 


' I ’IM MURPHY’S name is a potent drawing-card in the cities of the 
South and Middle West, and regularly each season he tours over the 
same territory, always to tremendous returns and greater professional 
eclat. As a star in character roles he has gained a marvelous vogue in 
the above named territory, and many a Broadway favorite might well envy 
the stellar success that he has known. Mr. Murphy first saw the light 
of day in Rupert, Vt., in which town he attended the public schools, later 
moving to Washington, D. C., where he lived for a number of years. Early 
in life he learned the trade of a painter, but after a short time at this he 
sought the stage door as a means of livelihood. His early days as an 
actor were devoted to the variety theatres, giving imitations of well-known 
actors, and it was in this field that he first came under the notice of 
Charles H. Hoyt. This famous playwright selected Mr. Murphy to create 
the part of Dodge Work in “ A Brass Monkey,” in 1888, and success has 
smiled upon him ever since. Two years later Mr. Murphy was provided 
with another Hoyt part, that of Maverick Brander in lt A Texas Steer,” and 
for four years he flourished in this role, this being the part by which the 
public knows and likes him best. He then became a star in the middle 
nineties, and has fared forth regularly each season since, a few of the plays 
that he has produced during that time being: “ Lem Kettle,” “Old Inno¬ 
cence,” “ The Carpetbagger,” “ A Bachelor’s Romance,” “ A Capitol Com¬ 
edy,” “ The Man from Missouri,” “ Two Men and a Girl,” “ When a Man 
Marries,” “A Corner in Coffee,” “David Garrick” and a revival of “A 
Texas Steer.” The season of 1907-08, Mr. Murphy appeared on tour in “ A 
Corner in Coffee ” and “ Two Men and a Girl.” He rarely appears on the 
New York stage nowadays, his last Broadway appearance being in the spring 
of 1900 when he played a brief engagement at the Bijou in “The 
Carpetbagger.” 






Ellaline Terriss 


F^VESPITE Charles Frohman’s frequent announcement that Seymour Hicks 
and Ellaline Terriss would shortly re-appear in our midst, their coming 
seems to be as remote as ever. Londoners have a particularly soft 
place in their hearts for Miss Terriss, and they are apparently loath that 
she should desert them. But we in America like her, too, and would be 
happier if England displayed a more generous spirit. The daughter of the 
well-known actor, William Terriss, she was trained for the stag;e by her 
father, making her debut in 1888 with Beerbohm Tree in “ Cupid’s Mes¬ 
senger.” She then supported Charles Wyndham for three years, later play¬ 
ing at the Court in “ A Pantomime Rehearsal,” “ The Amazons,” “ The 
Guardsman,” “ Faithful James,” etc. In 1893, Miss Terriss went in for 
musical plays, and for about a half-dozen years figured in such big London 
hits as “ Cinderella,” “ The Shop Girl,” “ The Circus Girl,” “ My Girl ” and 
“ A Runaway Girl.” A return to the drama followed, in 1899, and for 
several years she appeared in “ My Daughter-in-Law,” “ Self and Lady,” 
“The Masked Ball,” “Quality Street” and “Sweet and Twenty.” Of late 
years, however, Miss Terriss, who is certainly a most versatile soul, has gone 
back to musical pieces, and has been seen in London in “ Alice in Wonder¬ 
land,” “ The Cherry Girl,” “ Blue Bell in Fairy Land,” “ The Catch of the 
Season,” “ The Beauty of Bath ” and, in the fall of 1907, “ The Gay Gor¬ 
dons.” Miss Terriss’ appearances on the American stage have been in 
“ Cinderella,” at Abbey’s, in the spring of 1894, in “ His Excellency,” at 
the Broadway, the year following, and in “ My Daughter-in-Law,” at the 
Lyceum, in 1900—in each of which she proved a delightful, charming actress, 
one whom we would see more frequently. 


98 


April 1 4 


E. Allan Aynesworth 


E 7 ALLAN AYNESWORTH is one of England’s most popular leading 
men and he is always to be found each season very prominently placed 
in one or more of the London productions. He made a very favorable 
impression in this country with Marie Tempest, as Charles Trevor in “ The 
Freedom of Suzanne,” and his popularity in London is well understood. Mr. 
Aynesworth was born at Sandhurst, England, at the Royal Military College, 
his father being a general in the army. He was educated in his native land, 
with added courses in France and Germany. Like SO' many actors in his 
country, he gained his first knowledge of stage life as a member of Sarah 
Thorne’s company, with whom he remained three years. He made his Lon¬ 
don debut in 1887, supporting Beerbohm Tree in “ The Red Lamp,” upon 
the occasion of that actor’s opening at the famous Havmarket Theatre. The 
next season he was with John Hare and the Kendals at St. James’s, and 
from that time on it has been comparatively easy sailing for him in London. 
Among other roles, Mr. Aynesworth created the part of Lieutenant-Colonel 
Miles Anstruther in “ The Second in Command,” with Cyril Maude, and was 
the original Jack Frere in “ Billy's Little Love Affair,” in which part William 
Faversham starred in this country, though the play’s title was changed to 
“ Imprudence.” Then came his appearance with Miss Tempest in “ The 
Freedom of Suzanne.” The season of 1906-07, Mr. Aynesworth played Jack 
Temple in the English production of “ Mrs. Temple’s Telegram,” afterward 
re-joining Miss Tempest’s forces, appearing as Warder in “ The Truth,” as 
Captain Antony Erquen in “ The Barrier ” and Richard Evesham in 
“ Angela.” His most recent work was with Mrs. Langtry in “ A Fearful 
Joy,” at the Haymarket, in the spring of 1908. 




Florence St. Leonard 



F LORENCE ST. LEONARD is the type of actress who may always 
be relied upon to do good work, no matter whether her opportunities 
be large or small, and upon several instances she has done most ex¬ 
cellent work in important Broadway productions. She is a thoroughly 
sincere player, aspiring to only the best and most ambitious things in her 
professional career, and a pity it is that her acting chances are scarcely 
proportionate to her ambitions. However, Miss St. Leonard, who, by the 
bye, was born in Halifax, N. S., has not a few successes to her credit that 
are worthy of mention here. The season of 1901-02, she was a member 
of David Belasco’s forces, appearing at the Criterion Theatre with Mrs. 
Leslie Carter in the original production of “ Du Barry,” playing the dual 
roles of Manon and the Princesse Alixe. She remained three years in all 
with Mrs. Carter, being advanced the third season to the part of Hortense, 
the milliner, in “ Du Barry.” Miss St. Leonard was next seen on Broadway 
in the support of Blanche Walsh, creating the role of Louise Mane in “ The 
Woman in the Case,” and she did all she possibly could with this colorless 
part. And the same is equally true of her most recent appearance on the 
New York stage, at Daly’s Theatre, in January, 1908, when she played Miss 
Westlake in “ Society and the Bulldog,” in William Farnum’s support. In 
addition to these, Miss St. Leonard has filled many stock and traveling 
engagements and is quite popular with the theatregoing public throughout 
the country. ; * -, 


> > > 


99 


Mark Smith 


April 16 


THE name of Mark Smith has figured in American theatricals for the 
* greater part of the past century, always in a highly illustrious fashion, 
too, and the present young actor of that name, the third to bear the title, 
is rapidly proving himself worthy of family precedent. He has come 
forward with surprising rapidity during his few years behind the foot¬ 
lights, doing exceptionally good work in juvenile and high-comedy roles, 
and his future certainly looms bright upon the theatrical horizon as a player 
of most promising material, as well as actual achievement. Mark Smith, the 
third, can boast of some of the bluest blood in Stageland, his father having 
been the well-known operatic comedian of Hey, McCaull and Casino fame, 
while his grandfather was one of America’s foremost actors fifty years 
ago, and almost fifty years before that his paternal grandparent, Sol 
Smith, was a great favorite at the old Park Theatre in Park Row, later 
managing a chain of theatres in the South and building the famous St. 
Charles Theatre in New Orleans. Mr. Smith made his debut at the Lafayette 
Square Opera House, Washington, D. C., November 25, 1903, playing the 
Master of Ceremonies in “ Sweet Kitty Bellairs,” with Henrietta Crosman, 
later in that season being advanced to the role of Darby O’Donovan in this 
piece. The next season came greater advancement in “ Bellairs,” playing 
Captain Tom Stafford, in which part he continued a second year, in the 
support of Bertha Galland. The season of 1906-07, Mr. Smith created the 
role of Bishop Brigham Smudge in “ Marrying Mary,” with Marie Cahill, 
a most excellent piece of comedy acting, and his success was of such propor¬ 
tions that Miss Cahill retained his services a second year. Keep a watchful 
eye on our present Mark Smith. His is sure to be a proud and distinguished 
professional record ere many seasons have passed. 




DEVERLY SITGREAVES is an actress of exceptional temperamental 
qualities and most finished technical skill, her every move behind the 
footlights being full of significant meaning. She is an artiste to the 
tips of her fingers, magnetic, intelligent and sympathetically receptive, and 
her name on a theatre programme is an absolute guarantee that the cast 
contains at least one thoroughly capable actress. Miss Sitgreaves made her 
stage debut on March 14, 1887, appearing at the Union Square Theatre with 
Agnes Herndon in “The Commercial Tourist’s Bride.” The next season 
she played juvenile parts in the support of Rosina Vokes, and for two years 
was a member of Richard Mansfield’s company, appearing with him in “ A 
Parisian Romance,” “ Beau Brummell ” and “ Dr. Jekyll and Mr. Hyde.” 
She was then seen in the melodrama of “ Work and Wages,” with Mrs. 
Bernard-Beere in “ Lena Despard,” Sadie Martinot in “ Madame Pompa¬ 
dour and Harry Lacy in “ ihe Still Alarm.” For a long time after this 
Miss Sitgreaves was identified with theatricals in London and Paris, sup¬ 
porting Sarah Bernhardt in the French capital, while one of her biggest 
successes in London was as Amrah-in “ Ben-Hur,” at Drury Lane. She 
returned to this country in the spring of 1902, and has filled the following 
engagements: with Blanche Walsh in “Resurrection,” Maclyn Arbuckle in 
“Skipper and Co., Wall Street,” Julia Marlowe in “Fools of Nature,” 
Kyrle Bellew in “ Raffles,” Henry Miller and Margaret Anglin in “ Camille,” 
in “ The Heir to the Hoorah,” with Miss Anglin in “ Zira,” in “ The 
Trancoso Trail,” with Howard Kyle in “ The Greater Love,” in “ The Stolen 
Story” and, during 1907-08, she was seen in Philadelphia with Robert 
Edeson in “ The Sinner,” and later played Emma Brooks in “ Paid in Full.” 
One of these days some live manager will “ discover ” Beverly Sitgreaves, 
and then she will come into her stellar own. <c J 


100 


April 1 8 Richard Harding Davis 

DICHARD HARDING DAVIS should be encouraged to turn his hand 
* ^ at playwrighting with greater frequency, for in his own pleasing, grace¬ 
ful style he has contributed several decidedly worthy efforts to our 
stage, and one cannot help but express the wish that he would be more 
prolific in his dramatic output. Born in Philadelphia, the son of L. Clarke 
and Rebecca (Harding) Davis, he began life as a newspaper man in his 
native city. He then became an active figure in New York journalistic 
affairs, serving on the staff of the Evening Sun, the Times, the Daily Mail, 
etc. He won a tremendous vogue with the Van Bibber stories, and ever since 
then all his literary efforts have been received with most enthusiastic interest, 
he now being classified as one of our most popular and successful novelists. 
Mr. Davis has done most valiant service as special correspondent in the 
Greek, Spanish, Boer and Russo-Japanese wars, contributing many notable 
articles to the newspapers and magazines. As a playwright, Mr. Davis’ 
efforts include: “The Littlest Girl,” 1895, a one-act play, from his own 
story, produced by Robert Hilliard; “ Soldiers of Fortune,” in collaboration 
with Augustus Thomas, 1902, and “ Ransom’s Folly,” 1904, both from his 
novels, produced by Robert Edeson; “ The Taming of Helen,” 1903, for 
Henry Miller; “ The Dictator,” 1904, for William Collier; “ The Galloper,” 
1906, for Raymond Hitchcock, this play being given musical trimmings 
later under the title of “ A Yankee Tourist.” From this list it can be 
seen that Mr. Davis has nothing to discourage him; he has yet to write 
his first dramatic failure, and, with his keen knowledge of men and things, 
he should find playwriting both a pleasant and profitable task. 


April 1 9 Neva Ay mar 

T EVA AYMAR has come rapidly to the fore as a musical comedy sou- 
^ ^ brette, and her future looms bright upon the theatrical horizon as one 
rich in admirable promise of achievement. She has been before the 

public comparatively a short time, but six years in all, yet she has made 

quite a name for herself and built up quite a large army of admirers. Born 
in the village of Pike, N. Y., Miss Aymar, after a brief vaudeville appear¬ 
ance, began her stage career, the season of 1902-03, as a member of the 

Klaw and Erlanger forces, and for four consecutive seasons her destinies 
were guided by that firm, for two seasons appearing in the support of the 
Rogers Brothers, being Daisy Sten in “ In Harvard ” one season and Evelyn 
Birmingham in “ In London ” the next. Then came a season in “ Mother 
Goose,” and she completed her Klaw and Erlanger term with Joseph Caw- 
thorne in “ Fritz in Tammany Hall.” Miss Aymar next appeared on the 
New York Theatre Roof Garden, in the summer of 1906, at the head of 
Ned Weyburn’s big musical act, “ The Rain-Dears,” and she toured the 
vaudeville circuits with this act the greater part of the season of 1906-07. In 
the spring of 1907, she filled a special engagement at the Davis Theatre, 
San Francisco, playing in a round of Weber and Fields successes : such as, 
“ Fiddle-Dee-Dee,” “ Pousse Cafe,” “ Hurlv Burly,” etc. Miss Aymar 
returned East in the fall of that same year, and resumed her place as a vaude¬ 
ville headliner, appearing in Joseph Hart’s successful musical offering, “ The 
Dancing Daisies.” Later she joined the forces of Sam Bernard, replacing 
Georgia Caine as leading lady in “ The Rich Mr. Hoggenheitner,” and created 
the role of Edith in “ Nearly a Hero,” at the Casino. 


101 


April 20 


Louis Mann 


A POPULAR star of the first magnitude, Louis Mann is unquestionably a 
fine character actor, in fact one of our very best, and an unfortunate thing it 
is that the theatrical fates have so willed it that he must lend his talents to 
the school of buffoonery. A native New Yorker, though he passed his boyhood 
days in San Francisco, Mr. Mann had the usual ups and downs of the average 
stage beginner, appearing in various repertoire and traveling companies. It 
was in the late ’8o’s that he got his first real start, and made something 
of a success with Daniel E. Bandmann in “ Dr. Jekyll and Mr. Hyde.” He 
came prominently before the public as Dick Winters in “ Incog,” in which 
piece he met Clara Lipman, the well-known actress, whom he afterward 
married, and they appeared jointly in “ The Laughing Girl.” Mr. Mann 
then made a big hit in both “ The Merry World ” and “ The Strange 
Adventures of Miss Brown,” and from that time on it has all been plain 
sailing with him. The season of 1896-97, he was Hans in “ The Girl from 
Paris,” followed by two seasons as Hans Nix in “ The Telephone Girl.” 
He divided the season of 1899-00 between “ The Girl in the Barracks ” and 
“ Master and Pupil,” and the three seasons following this he appeared 
respectively in “ All On Account of Eliza,” “ The Red Kloof ” and “ The 
Consul.” Mr. Mann spent the season of 1903-04 at Weber and Fields Music 
Hall in “ Whoop-Dee-Doo,” resuming his stellar career the year following 
in “The Second Fiddle.” Then came a season each in “Julie Bon-Bon” 
and “ The White Hen,” and during 1907-08 he was seen in vaudeville in a 
condensed version of “ All On Account of Eliza.” An excellent actor is 
Louis Mann, and here’s the hope that he will yet find himself accepted in 
all seriousness in a really worthy, serious play. 



April 21 David Montgomery 

A DECIDEDLY clever operatic comedian is David Montgomery, being 
particularly apt in the pantomimic art, and as co-star with Fred A. 
Stone his position is one of unrivaled eminence in the theatrical world. 
The twain, Montgomery and Stone, are now numbered among the greatest 
money-makers on the American stage, and it is largely due to the clever 
business sagacity of the former that they have come to the front in such 
prompt order, with such a degree of permanency, too. Mr. Montgomery 
was born in St. Joseph, Mo., in which town he grew up, received his educa¬ 
tion and began his theatrical career, making his debut on March 20, 1887, as 
a blackface comedian at Streckbein’s Garden. He afterward appeared with 
Haverly’s Minstrels, and was in vaudeville for a long time. It was in 1894 
that Mr. Montgomery and Mr. Stone joined forces, and for six years 
they were immensely popular in vaudeville, doing a blackface act. They 
went to London in 1900, and played a highly successful term at the Palace 
Theatre, returning to this country later in that year to accept an engage¬ 
ment with Charles Frohman to support Edna May in “The Girl from Up 
There,” Mr. Montgomery playing the role of Solomon Scarlet. They re¬ 
turned to London with this piece, remaining on the other side quite a time, 
appearing in the ’alls and a Liverpool pantomime. Upon their return to 
their native land, in the spring of 1902, Mr. Montgomery scored a big 
hit by his performance of the Tin Woodman in “ The Wizard of Oz,” which 
role he ^played four years in all, and then came his big ten-strike as co- 
star m “ The Red Mill,” the season of 1906-07. and it looks as though this 
gold mine would go on forever. But the end of all things must come, sooner 
or later, and Mr. Montgomery’s many admirers are eagerly anticipating his 
appearance in a new role, an anticipation not likely to be fulfilled, how'ever 
for several years to come. 


102 


C. Haddon Chambers 


April 22 


HADDON CHAMBERS has been an uncommonly fortunate play- 
• wright, for while he has been unable to escape the ignominy of defeat 
in several instances, still those of his plays that have met with success 
have enjoyed wonderful longevity. He is a writer of remarkable ease and 
facility and can handle the most difficult situations with the skill of a 
long-practiced hand—which he undoubtedly is now. Mr. Chambers was born 
in Stanmore, near Sydney, Australia, and is a brother of Kellett Chambers, 
himself well known as a playwright. After several years in the Colonial 
Government Service, Mr. Chambers became a journalist and short-story 
writer in England, passing on from this to playwriting. His first notable 
effort in this line was “ Captain Swift,” 1888. produced in London by 
Beerbohm Tree and in New York by the Madison Square Theatre Com¬ 
pany. Then came “ The Idler,” 1890, produced first in this country by the 
Lyceum Theatre Company, and a short time after in London by George 
Alexander. A few of his other best known efforts have been: “ The Fatal 
Card” (with B. C. Stephenson), produced by Charles Frohman in 1895; 
“ John-a-Dreams,” which the Empire Theatre Company brought out that 
same year; “The Tyranny of Tears,” in which John Drew was seen in 
1899; and “ Sir Anthony,” which Liebler and Co. gave a hearing in 1906. 
Mr. Chambers also adapted “ Le Voleur ” for the American stage, and Kyrle 
Bellew and Margaret Illington acted in the piece at the Lyceum Theatre 
throughout the entire season of 1907-08. He has written several other plays 
besides the seven mentioned here, but it has been principally through these 
that he has made his greatest name and reputation. 






F. Osmond 



OSMOND CARR is a leading light in England’s musical circles, occu- 
^ • pying a foremost place as a composer, and he has turned his hand to 
most excellent account in any number of comic operas and musical 
comedies. His music is of a most legitimate, high-class order, with much 
of a catchy, popular spirit about it, too, and he finds the London managers 
ever eager to secure his works. Among the many operas, over a dozen in 
all, for which Dr. Carr has stood sponsor, at least three have reached this 
side of the Atlantic, and while none of them made any very great or lasting 
impression over here, it was certainly not through any fault of his music, 
which, in each case, proved to be of a very high calibre. The first of these 
was “ His Excellency,” for which W. S. Gilbert provided the book, which 
was produced at the Broadway Theatre, October 14, 1895, with a cast in¬ 
cluding Julius Steger, Lewis Cairns-James, John Le Hay, William E. Philp, 
Nancy McIntosh, Ellaline Terriss and Mabel Love—each one of whom scored 
individual successes. The next Carr opera was “In Town,” produced at the 
Knickerbocker Theatre, September 6, 1897, with an English cast, headed by 
Marie Studholme, Juliette Nesville, Maud Hobson and W. Louis Bradfield, 
but its reception was of such chilly proportions that the cast returned home 
without delay. The third opera, “ Morocco Bound,” never even reached 
Broadway. It was played for a few months in New England and Canada, 
early in 1902, by a cast that included Dan Collyer, Templer Saxe, William 
Herman West, Edith Bradford and Florence Holbrook, but it never braved a 
New York hearing. However, Dr. Carr is probably in no way discouraged, 
for he is too prominent a personage in England to have his light dimmed by 
any American failures. 


103 


April 24 Fernanda Eliscu 

F^ERNANDA ELISCU, a young emotional actress of rare promise, will 
A yet achieve a place among the chosen few of the stage’s elect, if but 
given the proper opportunity. She has force, power and distinction 
and needs but the proper guiding hand to achieve enviable professional 
heights. Miss Eliscu is a Roumanian by birth, but has lived practically all 
her life in New York City. Always loyally devoted to the theatre, she gradu¬ 
ated from the American Academy of Dramatic Arts in the spring of 1899, 
appearing, during the season of 1899-00, with Maude Adams in “ The Little 
Minister,” playing the part of the boy, Micah Dow. The next season she 
supported Grace George, being Lisa in “ Her Majesty,” and the following 
season she was Lazarillo in “ Don Caesar’s Return,” with James K. Hackett. 
Miss Eliscu then made a profound impression by her acting of Juliet with 
the Elizabethan Players at Mrs. Osborn’s Playhouse, later playing a brief 
term in stock in Philadelphia. The season of 1903-04, she added further 
to her reputation by her work in the title role in “ Marta of the Lowlands,” 
and the two years following this she was a member of Mrs. Fiske’s com¬ 
pany, playing Sophie Chaponniere in “ Leah Kleschna,” Lady Jane Crawley 
in “Becky Sharp” and ’Toinette in the one-act play, “A Light from St. 
Agnes,” Miss Eliscu then made a radical change in her style of work, and 
for the past two years she has been playing at the Kalich Theatre on the 
Bowery, acting in the Yiddish tongue, though she starred in English for 
a short time, in the fall of 1907, in a piece called “ Ruth.” It is said 
that Miss Eliscu will shortly return permanently to the English-speaking 
stage, which, let us hope, proves true. 


4 * 




April 25 Paul Armstrong 

HAUL ARMSTRONG, long looked upon as one of our most able native 
*■ dramatists, is fast acquiring enviable fame on account of the great 
success that his play, “ Salomy Jane,” has made, and managers, who 
heretofore would not even read his plays, are now tumbling over themselves 
in their efforts to have him turn them out a play. ’Tis the pleasing way with 
success. Mr. Armstrong was born in Missouri, in a village near St. Joseph, 
and his early days were filled with considerably more downs than ups. After 
trying at least a dozen different occupations, he finally turned his hand to 
newspaper writing and was on the Chicago Record-Herald for some time. 
He wrote for various papers for a long time, turning out plays the while. 
Mr. Armstrong’s first piece to have a public hearing was a one-act play, 
“ Blue Grass,” tried in vaudeville by Willis Sweatnam, which he afterward 
elaborated into a four-act play, produced in Philadelphia in March, 1906, by 
Frank Howe, Jr. “ Ann La Mont,” which he claims to be one of his best 
efforts, was first produced in Virginia by a stock company and afterward used 
in the West by Florence Roberts. A farce, “ The Superstitions of Sue,” met 
with defeat, but his next effort, “ The Heir to the Hoorah,” has been touring 
for over three seasons. Nat C. Goodwin produced a one-act 1 play of Mr. 
Armstrong’s entitled “ Sierra,” a big success, but owing to a dispute between 
them it was quickly withdrawn. Then came his ten-strike with “ Salomy 
Jane” and the name of Paul Armstrong now ranks with the best. His 
“ Society and the Bulldog,” however, met with defeat at Daly’s, in January, 
1908. He is writing several plays that will have hearings during the season 
of 1908-09 and their appearance will be eagerly awaited. He has striven too 
long and too hard as a dramatist to be of the flash-in-the-pan variety, and 
it is a safe wager that he has come into the ranks of successful playwrights, 
to stay. 


104 


April 26 James T. Powers 

J AMES T. POWERS takes front rank among our popular comic-opera 
comedians of the day, and with an oddly humorous personality he creates 
fun of a most diverting and entertaining character. Mr. Powers’ career 
has been filled with a great number of personal successes, and it is an 
easy thing to understand the affectionate favor in which he is held by 
our theatregoing public. Born in New York City, gaining rather a sparse 
education at the public schools, he started out early in life as a Western 
Union messenger boy, but at the age of sixteen he gave this up to embark 
upon a theatrical career, making his debut in 1878 in the variety business 
as a singer and dancer, continuing in this field two years. He then appeared 
with Willie Edouin in “ Dreams,” was next in Rice’s “ Evangeline,” re¬ 
joining the Edouin forces in “ A Bunch of Keys.” He went to London with 
this last piece in 1883, and remained on the other side two years, appearing 
with the Vokes Family in “ Little Red Riding Hood,” and was at the 
Empire in “ Chilperic ” and at Drury Lane in “ Dick Whittington.” Return¬ 
ing to America in 1885, Mr. Powers played Rats in “ A Tin Soldier ” for 
two years, and for three seasons was identified with the Casino productions, 
appearing in “ The Marquis,” “ Madelon,” “ Nadjy,” “ The Yeoman of the 
Guard,” The Drum Major ” and “ Erminie.” He made his debut as a 
star in 1890, appearing in “ A Straight Tip,” which lasted him two years, 
and then came one season each in “ A Mad Bargain,” “ Walker, London,” 
“ The New Boy ” and “ Gentleman Joe.” He began the season of 1896-97 
in “ Santa Maria,” later joining the Daly Musical Comedy Company, with 
which he remained six years, playing in “ The Geisha,” “ The Circus Girl,” 
“ La Poupee,” “ A Runaway Girl,” “ San Toy ” and “ The Messenger Boy.” 
The season of 1902-03, he was in “The Jewel of Asia”; 1903-04, in both 
“ The Princess of Kensington ” and “ The Medal and the Maid ” ; 1904-05, 
in a revival of “ San Toy,” followed by a season in vaudeville in a musical 
sketch, and for the past two years he has been starring under the Shuberts 
in “ The Blue Moon.” 

April 27 Lumsden Hare 

L UMSDEN HARE is nothing if not a cosmopolitan actor. Having trav¬ 
eled around the world four times and made quite a reputation for him¬ 
self as an actor in England and Australia, he is now an active participant 
in American stage affairs, and is fast building up a following in our midst 
as an exceptionally clever, conscientious player, one who can do good work 
even with thankless opportunities. Mr. Hare, who, by the way, is no relation 
to the famous John Hare, was born in London, of Irish parentage, and 
during his early youth was ambitious for a career on the ocean wave. A 
short time at this, and the stage bee began buzzing in his bonnet, with 
the result that the footlights triumphed over the sea, and he took a course 
of elocution under Professor Ellaby. Mr. Hare began his stage career in 
1894, and the greater part of his time has been devoted to English touring 
companies, while for three years he was leading man with J. C. Williamson’s 
organizations in Australia and New Zealand. Finally Mr. Hare fell a 
victim to the allurements of the American stage, and he made his debut 
in this country the season of 1906-07, playing Augustus Trenor in “ The 
House of Mirth,” supporting Fay Davis. Later in that same season he was 
seen in John Drew's company, playing Major Maurewarde in “ His House 
in Order.” Apparently he is to continue indefinitely under the Frohman 
banner, for during 1907-08 he was cast for the role of George Saunders 
in “ Her Sister,” with Ethel Barrymore. Mr. Hare is a sturdy, virile actor, 
with decisive, clean-cut methods, and we are glad to welcome him to our 
stage. 


105 


April 28 Lionel Barrymore 

r T , HE American stage lost a splendid actor when Lionel Barrymore aban- 

A doned the mimic art for the art of the palette and brush. He was just 
upon the threshold of. what promised to be an exceptionally brilliant 
stage career, and it really seems a pity that his excellent beginning never 
reached a complete fruition. A member of the distinguished Barrymore- 
Drew family, son of Maurice Barrymore and Georgia Drew, and brother 
to Ethel and John of the same ilk, he made his stage debut the season 1893- 
94, appearing in the support of his grandmother, Mrs. John Drew, in “ The 
Road to Ruin ” and “ The Rivals. He was off the stage for two years 
following this, making his re-appearance, in the fall of 1896, with Georgia 
Cayvan in “ ’Squire Kate.” The season following he was in “ Cumberland 
’61,” also appearing for a brief time in the support of Nance O’Neil in 
repertoire. The season of 1898-99, Mr. Barrymore was seen with Sol 
Smith Russell in “ Uncle Dick ” and “ Hon. John Grigsby,” followed by 
a season on tour in “ Arizona.” He began the season of 1900-01 with James 
A. Herne in “ Sag Harbor,” then played Denton in “ Arizona,” on the road, 
and was also in “ The Brixton Burglary.” The two seasons following this 
he appeared with his uncle, John Drew, in “ The Second in Command ” and 
“ The Mummy and the Humming Bird,” making an enormous hit in the latter 
piece as an Italian organ-grinder. He was next seen, the season of 1903-04, 
first in “ The Best of Friends,” and then as Mr. Sheldon, the prize-fighter, 
in “ The Other Girl,” another big personal triumph, playing this part all 
of the season following. Mr. Barrymore played the Clown in Barrie’s one- 
act play, “ Pantaloon,” the season of 1905-06, but his health gave way before 
the season’s close, and he left the stage. He has been living in Paris the 
past two years, studying art, and, apparently, has no intention of resuming 
his stage career. 

# # # 

April 29 Mary Mannenng 

A MONG the myriad English players who have made America their perma- 
'**■ nent abode, very few have met with greater or more lasting favor than 
Mary Mannering. She made a success upon her first appearance here, 
eleven years ago, and each season since has found her retaining her hold 
upon our theatregoers with an ever-increasing number of admirers and well- 
wishers. Miss Mannering claims London as her birthplace, being the 
daughter of Richard and Florence Friend, and she herself was christened 
Florence. She made her stage debut on May 9, 1892, with Kyrle Bellew 
and Mrs. Potter, in “ Hero and Leander,” at Manchester, followed by a long 
term with Hermann Vezin, who was her dramatic instructor before she went 
on the stage. Miss Mannering then spent several seasons touring in the 
provinces, playing, among other roles, Sadie in “ The Late Mr. Castello,” in 
which part Daniel Frohman chanced to see her, liked her acting and engaged 
her as leading woman for the Lyceum Theatre Company. She made her 
debut with this company the season of 1896-97, remaining at its head for four 
years, appearing during that time in “ The Courtship of Leonie,” “ The Late 
Mr. Castello,” “ The First Gentleman of Europe,” “ The Mayflower,” “ The 
Princess and the Butterfly,” “The Tree of Knowledge,” “ Trelawny of the 
Weds,” “ Americans at Home,” “John Ingerfield,” “The Manoeuvres of 
Jane,” “ The Ambassador ” and “ The Interrupted Honeymoon.” Miss 
Mannering then ventured upon starry waters, maintaining her craft most 
admirably, and was seen two seasons in “ Janice Meredith,” a brief co- 
starring tour with Kyrle Bellew in “The Lady of Lyons,” a season and 
a half in “ The Stubbornness of Geraldine ” and rather short terms in 
“Judith,” “Harriet’s Honeymoon” and “Nancy Stair.” The season of 
1905-C6, Miss Mannering co-starred with James K. Hackett in “ The Walls of 
Jericho,” and has since braved it alone in “ Glorious Betsy.” She is an 
actress with a charming comedy sense, though her ambition is to play 
only emotional roles, and she has proven herself a worthy addition to the 
American stage. 


106 


April 30 


William H. Crane 


AY/ILLIAM H. CRANE, one of our oldest and most representative stars, 
has been a stellar feature of American theatricals for considerably 
over a quarter of a century, and his personal following is of a stanchly 
reliable kind that pays him horqage in each new role he assumes. Born 
in Leicester, Mass., and educated in Boston, Mr. Crane began his stage 
career, when a youth of eighteen, with the Holman Opera Company, with 
which he remained eight years, playing all manner of roles in various farces, 
comedies and operettas. After this he became leading comedian with the 
Alice Oates Opera Company, a position he held four years, and then played 
a season with the stock at Hooley’s Theatre, Chicago. Mr. Crane next 
played in stock in San Francisco, after which he became a member of the 
company at the Park Theatre, New York. In this organization he first met 
Stuart Robson, and a short time after they formed the famous Robson-Crane 
combination which lasted from the fall of 1877 until May 18, 1889, during 
which time they produced “ Our Boarding House,” “ Our Bachelors,” “ The 
Comedy of Errors,” “Flats and Sharps,” “Twelfth Night,” “Forbidden 
Fruit,” “The Cherub,” “The Merry Wives of Windsor” and “The Hen¬ 
rietta.” Since branching out as a lone star, Mr. Crane has produced the 
following pieces: “The Senator,” 1889; “On Probation,” 1890; “For 
Money,” 1891; “The American Minister,” 1892; “Brother John,” 1893; 
“ The Pacific Mail,” 1893; “The Merry Wives of Windsor,” 1894; “His 
Wife’s Father,” 1895; “The Governor of Kentucky,” 1896; “The Rivals” 
(with the all-star cast), 1896; “A Fool of Fortune,” 1896; “A Virginia 
Courtship,” 1897; “His Honor the Mayor,” 1898; “Worth a Million,” 
1898; “The Head of the Family,” 1898; “Peter Stuyvesant,” 1899; “A 
Rich Man’s Son,” 1899; “ David Harum,” 1900; “ The Spenders,” 1903; 
“Business is Business,” 1904; “An American Lord,” 1905; “The Price of 
Money,” 1906; “She Stoops to Conquer,” 1906; and “Father and the Boys,” 
1907. 



The bee buzzed up in the heat, 

“ I am faint for your honey, my sweet.” 
The flower said, “ Take it, my dear, 
For now is the Spring of the year. 

So come, come.” 


“ Hum.” 

And the bee buzzed down from the heat. 


•—Tennyson. 


107 



■I 



RICHARD MANSFIELD 


Born, May 24, 1857, 


Died, August 30, 1907 












































































■ 















































































































































Emma Janvier 


May 1 

A DESERVEDLY popular comedienne, one whose fame and reputation 
increases with successive seasons, Emma Janvier now occupies a proud 
professional position as a feminine fun-maker, such as very few of her 
sex can boast. For sheer artistry and subtle comedy touches, she is noth¬ 
ing short of a wonder, injecting rare characterization into each of her 
varied roles, and without stooping to any coarse or low comedy methods, she 
can strike a telling note with an 
effectiveness that brings an immedi¬ 
ate response from her audience. 

Though her fame is of comparatively 
recent date, she is by no means a 
novice in stage circles, she is not 
one of the “ flash-in-the-pan ” va¬ 
riety, those who have their brief tri¬ 
umph and then sink into oblivion. 

Miss Janvier’s early stage days were 
passed playing small roles in such 
productions as “ Lost, Strayed or 
Stolen,” “ Papa Gou-Gou,” with 
Thomas Q. Seabrooke; in “ 1999,” at 
the Casino, and with Herbert Kel- 
cey and Effie Shannon in “ The Moth 
and the Flame.” It was the season 
of 1900-01 that really saw the turn¬ 
ing-point in Miss Janvier’s career, 
she appearing that season as the 
gossiping villager, Susie Lennon, in 
“All on Account of Eliza,” with 
Louis Mann and Clara Lipman. The next year she appeared on tour as 
the schoolmistress, Molly Mealey, in “ Lovers’ Lane,” after which she 
spent a season in “ The Ninety and Nine.” The two years following this 
Miss Janvier filled four very congenial engagements, divided equally between 
“ Glad of It,” at the Savoy, and with Mary Mannering in “ Harriet’s Honey¬ 
moon,” and with Blanche Ring in “ Vivian’s Papas ” and Edna Wallace 
Hopper in “ A Country Mouse.” Then came Miss Janvier’s sweeping tri¬ 
umph as Madame Stitch in “ The Mayor of Tokio,” supporting Richard 
Carle, she being at once conceded a leading place among our principal come¬ 
diennes, displaying exceptional originality in her conception of this role. 
She remained with Mr. Carle a second season, creating Mrs. Girdle in “ The 
Spring Chicken,” and all of her previous success was again to the fore. 
The season of 1907-08, Miss Janvier originated the role of Mrs. Tilford in 
“Fifty Miles from Boston,” and her happy knack of making a faithful 
portraiture of a gossiping busybody was clearly illustrated, bringing to the 
part all the clever, brainy touches for which the name of Emma Janvier has 
now become a synonym. In the summer of 1908, she appeared in Chicago as 
leading woman in “ The Top o’ the World.” A remarkably gifted woman 
is Miss Janvier, one whose work is ever full of delightful surprises, she being 
a much younger and prettier woman than the type of character roles with 
which she has become identified, and it is a keen pleasure to anticipate her 
appearance in a new role each season. 



Ill 




May 1 


Consuelo Bailey 


PWIRLY radiating youth, beauty and talent, added to brains and enthu- 
siasm, Consuelo Bailey is a strikingly conspicuous figure in the theatrical 
world, and the brilliancy of her future promise is only equaled by 
the list of admirable achievements that she has already scored during 
her short stage career. She has known success in each part for which 
she has been cast, bringing rare intelligence and strong individuality to her 
various roles, and few players there are with a happier future. Miss 
Bailey, who, by the bye, is a god-child of Mrs. Yznaga and is named after 
the Dowager Duchess of Manchester, began her stage career as recently 
as the season of 1905-06, her first engagement being in the support of 
Franklin Woodruff in “ Ben of Broken Bow.” She made her Broadway 
debut a short time afterward, appearing at the Manhattan Theatre in “ The 


Triangle.” under 


the direction of 



Walter N. Law- 
our most con- 


rence, one of 
s e r v a t ive and 


discrimin a t i n g 
said of her work 
“ This young 
more ability 
her years I have 
predict a brill- 


managers, who 
in this play: 
actress shows 
than any girl of 
ever seen, and I 
iant future for 


her.” After a 
at Daly’s Thea- 
timist,” in which 
oughly charming 
gela Grey, Miss 
the Frawley 
at Utica, N. Y., 
genue roles. So 
her success that 
1906-07 Mr. 
ly engaged her 
his company in 
Minn., where 
different roles 
weeks, ranging 
the title role in 
dith ” to Vera in 
exclusively under 


brief appearance 
tre in “ The Op- 
she gave a thor- 
portrayal of An- 
Bailey joined 
Stock Company 
to play the in- 
pronounced was 
the season of 
Frawley special- 
as the star of 
M i n n e a p olis, 
she played forty 
within as many 
all the way from 


“Janice Mere- 

‘ Moths.” The season of 1907-08, Miss Bailey appeared 
the management of Charles Frohman, appearing first 
in the leading role of Hester in “ The Toymaker of Nuremberg,” at the 
Garrick Theatre. Her charmingly girlish and unaffected portrayal of 
this role completely won the entire metropolitan press and public, and here¬ 
after her name will have a special significance upon any playbill. Her most 
recent success was in the role of the heroine, Solange, in “ The Jesters,” the 
part opposite Maude Adams, at the Empire Theatre, her daintiness and 
youth suiting the part perfectly and her reading of the rhythmical verse 
was a delight to hear. This part gave her greater prestige and popu¬ 
larity with the Broadway theatregoing public. Miss Bailey, sweetly 
sympathetic and sincere, and of a most delicate, dainty type of beauty, 
accepts her praise and adulation with a most becoming modesty—a rare trait 
in one so young as she—and, far from being satisfied with what she has 
accomplished, is most actively alert and ambitious for even greater histrionic 
honors. 


112 




May Hengler 


May 2 

D AINTY, winsome May Hengler, of an archly captivating type of blonde 
beauty, started her stage career with her sister, the dashing Flora, 
when they were little children, and now as a girl she stands the per¬ 
sonification of beauty and cleverness. They were high in favor as youthful 
dancing marvels until they were pursued by the Gerry Society, when they 
forthwith shook the soil of America from their dainty heels and embarked 
for England, being received with 
open arms in the theatres and the 
most exclusive London drawing¬ 
rooms. They enjoyed great popu¬ 
larity on the other side for some 
years, and the Britishers were loath 
to have them depart. But advan¬ 
tageous contracts demanded their re¬ 
turn to their native land, and it was 
with glad acclaim that American 
theatregoers hailed their re-appear¬ 
ance in our midst. For four suc¬ 
cessive seasons May Hengler was a 
permanent Broadway fixture, appear¬ 
ing in a new production each year, 
and many were the honors that were 
crowded upon her as Flossie in 
The Sleeping Beauty and the 
Beast,” at the Broadway Theatre; 
as Uneeda in “ Tommy Rot,” at ... 

Mrs. Osborn’s Playhouse; as Mary 
Ann Garland in “ The Runaways,” 
at the Casino; and as Angy Loftus in ‘‘The Cingalee,” at Daly’s, in 
which last she was seen to particularly happy advantage, and never did 
a daintier or more attractive figure appear on the New York stage. 
After this came her triumphs again on the other side, through London, 
Paris and St. Petersburg, where, during the season of 1906-07, she scored 
a brilliant success. Naturally her name and fame have spread all over con¬ 
tinental Europe, and it is not surprising to learn that she had to postpone 
a contract, for the season of 1907-08, to appear in comic opera in Berlin 
in order to return to New York to create the role of Nita in “ The Rogers 
Brothers in Panama,” at the Broadway Theatre. As always, she was 
accompanied by her sister, and by their daintiness and grace they were 
largely instrumental in the big success enjoyed by this musical production. 
The Rogers Brothers showed wisdom and exceptional managerial sagacity 
when they secured the services of the charming, Dresden-like Hengler girls, 
for these attractive bits of femininity sing their songs with perfect musical 
taste; their voices, while not powerful, being most effective and pleasing. In 
addition to their stage triumphs, the Henglers hold a social position that is 
almost unique, for they are of the chosen few of the professional world to 
whom the drawing-rooms of the most exclusive set are always open. 



113 






May 3 


George F. De Vere 


G EORGE F. DE VERE began his stage career on April 18, 1845, so it 
may be safely assumed that he is no longer in the amateur, ranks. He 
was quite a popular favorite in his early days as a juvenile actor, 
having begun in the professional ranks when a mere baby, and he has never 
lacked for good engagements during his entire time behind the footlights, 
a fact in which he may take every pride. Mr. De Vere was for many 
years a member of Augustin Daly’s company, back in the days when Fanny 
Davenport, Agnes Ethel and Clara Morris shared the leading parts. Later 
on he was identified with the stock companies at the Park and Wallack’s 
theatres. After a brief appearance at the Union Square in “ Two Nights 
in Rome,” Mr. De Vere became a member of John T. Raymond’s’ company, 
appearing in his support five years, playing in “ Fresh, the American,” 
“ For Congress,” etc. He was then with Helen Dauvray two seasons, sup¬ 
porting her in “ One of Our Girls,” “ A Scrap of Paper,” “ Walda Lamar ” 
and “ Masks and Faces.” He was then seen in “ One Against Many,” at 
the Union Square, and at the Standard and Madison Square theatres in 
“ A Possible Case.” In the fall of 1889, Mr. De Vere joined the forces 
of William H. Crane, upon the occasion of that actor’s stellar debut, and 
he continued in his support, playing character roles and acting as his stage 
manager, until the spring of 1906, an uninterrupted engagement of seven¬ 
teen consecutive years. The season of 1907-08, Mr. De Vere appeared under 
Klaw and Erlanger’s direction, playing M. Marcel in “The Right of Way.” 
Anything in praise of this actor’s talents and abilities seems a superfluity, 
for certainly the above record speaks for itself. 






Katherine 



TV” ATHERINE KEYES gave promise a short time ago of developing into 
* an uncommonly clever ingenue actress, but, as so often happens,- she 
preferred the comforts of matrimonial domesticity, and the stage has 
known her not for the past two years. Miss Keyes was born in New 
York City, later moving to Hastings-on-the-Hudson, where she became 
actively interested in amateur theatricals. It so happened that Walker 
Whiteside, the well-known Shakespearean star, was also a resident of 
Hastings, and his attention was drawn to the excellent work that Miss Keyes 
was doing in amateur circles. The result was that he offered her an 
engagement to join his company, which she promptly accepted, making her 
debut with Mr. Whiteside the season of 1902-03, appearing with him in 
“ The Merchant of Venice,” “ Hamlet,” “ Richard III.” and “ In Days of 
Old when Knights were Bold.” The spring of 1903, Miss Keyes made 
her New York debut, appearing at the Garrick Theatre as Mrs. Harcourt 
Harper in “ Skipper and Co., Wall Street.” In January of the next year she 
was seen at the Madison Square Theatre as Genevieve Langeac in “ The 
Secret of Polichinelle.” She began the next season with Arthur Byron in 
“ Jack’s Little Surprise,” was back with “ The Secret of Polichinelle ” for a 
time and then created the part of Elsie Brewster in “ The Woman in the 
Case,” supporting Blanche Walsh. Miss Keyes then appeared in vaudeville 
with Mr. Byron in a dramatic playlet, and after playing with Mabel 
Taliaferro in “ In the Bishop’s Carriage,” she left the stage late in 1905, 
having married Mr. Byron on August 12th, of that same year, and, though 
one can never tell, she will probably not be seen behind the footlights again. 


114 


Eda Bruna 


May 5 


IF vaulting ambition counts for anything in the furthering of a stage career, 
A certainly Eda Bruna should stop at nothing short of the highest pinnacle. 

She is zealously ambitious to succeed, striving valiantly the while to get 
a good boost up the theatrical ladder, and, as she is keenly alive to her oppor¬ 
tunities, there is every reason to believe that she will yet accomplish some¬ 
thing quite worth while. Born in West Pittston, Pa., and a graduate of a 
prominent Eastern college, Miss Bruna first attracted attention in stage 
circles by her work with the Progressive Stage Society, winning special 
note for her Petra in Ibsen’s “ An Enemy of the People,” as Selma in this 
same author’s “The Young Men’s League” and as Credo in Bjornson’s 
“ Beyond Human Power.” On January 9. 1905, she created the bit of the 
maid in “ You Never Can Tell,” at the Garrick, supporting Arnold Daly, 
and during the run of this piece she quite distinguished herself by playing 
the lead of Gloria Clandon at a moment’s notice, owing to the absence of 
Drina de Wolfe from the cast. The season of 1905-06, Miss Bruna was 
first in “ The Prodigal Son,” then re-joined Mr. Daly, playing her old part 
in “You Never Can Tell” and Prossy in “Candida,” and was later with 
Guy Standing’s stock in Washington, D. C. She started out, the season 
following, with Mr. Daly, then played Emily in “ Sir Anthony,” at the Savoy, 
and was next Miss Boynton in “ Brewster’s Millions,” with Edward Abeles. 
During 1907-08, Miss Bruna played the maid in “ The Morals of Marcus,” 
supporting Marie Doro, and the summer of 1908, she was a member of a 
St. Louis stock company. 







|V 7 IILLIE JAMES occupied rather an unique position in the stage world, 
and, during her ten years before the public, she proved herself to 
be uncommonly capable as an interpreter of ingenue and “ child ” roles. 
With a remarkably petite personality, she was able to give a perfect sem¬ 
blance of reality and truth to children’s parts, with all the technical skill of 
a finished, experienced actress, and it is doubtful whether we shall soon 
again see her like in Stageland. The daughter of so well-known an actor 
as Louis James, her talent was a natural inheritance. She made her debut 
behind the footlights as a member of Roland Reed’s company as Mabel in 
“ The Club Friend,” in the early nineties. Then came a season divided 
between a touring company in “ The Senator,” in which she played Josie 
Armstrong, and a similar organization in “ Charley’s Aunt,” playing the 
role of Ela Delanay. Miss James was next seen as leading woman with 
James J. Corbett in “ A Naval Cadet,” later on replacing May Buckley as 
the blind sister in “ Catherine,” in the support of Annie Russell. She was 
seen at the Manhattan Theatre in the spring of 1900 as Janet Marlowe in 
“ Woman and Wine.” Exactly a year later, at this same playhouse, Miss 
James scored a tremendous personal triumph as the ten-year-old child, 
Simplicity Johnson, in “ Lovers’ Lane,” with which part her name will 
always be associated. In January, 1903, she created another child role, that 
of Sara Crewe, the title role, in “ The Little Princess,” and in December, 
of that same year, she played Connie Bowles in “ Glad of It,” at the Savoy. 
This proved to be Miss James’ last appearance in public, for on February 
14, 1904, she married Edgar Stachelberg, a cigar manufacturer, and has not 
appeared on the stage since. 


115 


May 8 Marie Wainwright 

A LTHOUGH Marie Wainwright’s name has lost much of its lustre of 
yesterday, she has now started in to make a new name for herself 
as an actress of grande dame and character roles. It is the inevitable 
march of time in the career of an actress, and Miss Wainwright has taken 
the step gracefully, fitting herself into the new order of things with most 
excellent results. Born in Philadelphia, the daughter of Commodore J. 
M. and Maria (Page) Wainwright, and educated in France, Miss Wain¬ 
wright made her debut on the stage May 17, 1877, as Juliet to the Romeo 
of George Rignold, at Booth’s Theatre. After a short term with the Boston 
Museum Stock, she became leading woman with Lawrence Barrett, a posi¬ 
tion she held five years, and then for a considerably longer period she co- 
starred with Louis James in such pieces as “ Virginius,” “ Ingomar,” “ The 
Love Chase,” etc. Miss Wainwright then became a star upon her own 
account, and for several years was on tour in “ Amy Robsart,” “ The Social 
Swim,” “ Twelfth Night ” and “ Daughters of Eve.” The season of 1896-97, 
she was leading lady with Wilton Lackaye in “ Dr. Belgraff,” and during the 
nine years following this she appeared frequently in vaudeville, played 
many stock-starring engagements, was on tour a season each in “ Shall 
We Forgive Her?” and “Mile. Fifi,” and toured the one-night stands for 
two years, under Jules Murry’s direction, in “ Twelfth Night.” Beginning 
with the season of 1905-06, Miss Wainwright began playing character roles, 
and her principal engagements in this new field have been in “ The Prodigal 
Son,” “ The Transcoso Trail,” with Isabel Irving in “ Susan in Search 
of a Husband ” and Viola Allen in “ Irene Wycherly.” 

May 9 J. M. Barrie 

J M. BARRIE, long greatly admired and respected as a novelist, is be- 
• coming more and more famed as a playwright each season, and his 
popularity is as great in America as in England, though the latter country 
has been more favored in the number of his plays. One of his earliest con¬ 
tributions to stage literature was “ Walker, London,” produced in 1892 by 
John L. Toole, and played here a year later by James T. Powers. Then came 
“ The Professor’s Love Story,” 1894, in which E. S. Willard scored one of 
his greatest successes and which will probably last him until the close of 
his professional career, followed by “ The Little Minister,” 1897, with which 
the name of Maude Adams will ever be identified, and which brought great 
fame to Winifred Emery in London. Mr. Barrie’s next effort was “ The 
Wedding Guest,” 1900, a frank discussion of the “ sex question,” produced 
at the London Garrick with a cast headed by H. B. Irving and Dorothea 
Baird, but it never reached American soil. “ Quality Street,” 1901, was the 
next in order, Maude Adams being the heroine in this country and Ellaline 
Terriss on the other side, followed by “ The Admirable Crichton,” 1903, 
William Gillette and H. B. Irving being the admirable ones in America and 
England respectively. His famous “ stomach drama,” “ Little Mary,” 1903, 
done in London by John Hare and Nina Boucicault and here by Henry E. 
Dixey and Jessie Busley, was followed by “ Peter Pan,” 1904, produced on 
four different occasions in the British capital, with Nina Boucicault, Cecilia 
Loftus and Pauline Chase as the hero in the respective productions, Miss 
Chase playing it two seasons, and Maude Adams has created a veritable 
sensation in the part here. Mr. Barrie then entertained us with “ Alice 
Sit-by-the-Fire ” and “ Pantaloon,” 1906, acted by Ellen Terry and Gerald 
Du Maurier in London and here by Ethel and Lionel Barrymore, and he 
had two short fantastical playlets, “Josephine” and “Punch,” produced in 
London in April, 1906, but they did not warrant a hearing in this country. 
Mr. Barrie’s more recent plays are constantly surprising: indeed, many people 
find them too much so, but they are always bright, entertaining and uncom¬ 
monly clever; so why ask more? 



116 


May 1 0 Henry M. Blossom 

HP HOUGH Henry M. Blossom has not been a particularly prolific writer 
A of stage material, yet his four contributions to the literature of the 
theatre have proven of the greatest import, each being more than 
ordinarily successful and being great sources of revenue for their pro¬ 
ducers as well as the author himself. There is no need to eulogize his style 
of writing here, it is too thoroughly established and well known for that, 
for by his scintillating and markedly individual way of handling his subject 
he has come into lasting fame and success. Mr. Blossom was born in 
St. Louis, Mo., and was educated there at the Stoddard School. He began 
his bread-and-butter struggle in the insurance business, but soon aban¬ 
doned this to enter upon the more precarious profession of literature, only 
in this instance he cannot be held up as a horrible example. Mr. Blossom 
is the author of several books, the most successful of which has been 
“ Checkers.” He dramatized this story, it being brought out by the late 
Kirke La Shelle in the spring of 1903, and it has been on tour regularly 
every season since then. He also wrote the book of “ The Yankee 
Consul,” 1903, in which Raymond Hitchcock starred for two years, and 
he supplied the dramatic material for “ Mile. Modiste,” 1905, which Fritzi 
Scheff used for three years to enormous returns. He hopes to turn the 
trick again in Miss Scheff’s new opera for 1908-09. Probably Mr. Blossom’s 
greatest success has been “ The Red Mill,” 1906, produced by Montgomery 
and Stone, and it looks as though these comedians would need no new 
vehicle for at least five years to come. Yes, Mr. Blossom made a wise 
move when he gave up insurance for literature, make no mistake about 
that. 


May 1 2 Clara Earle 

TOURING Edward Terry’s rather unhappy American tour, the season of 
1904-05, he introduced many new players to us, several of whom proved 
quite worth while, not the least of these being Clara Earle, a young 
player who had rather excellent opportunities to display her versatile powers 
in the Terry repertoire. Among the roles for which she was cast were 
Jenny in “ The House of Burnside,” Louise Gondinot in “ Love in Idle¬ 
ness,” Mrs. Simmons in “ Bardell vs. Pickwick” and Markham in “The 
Passport.” A large part of Miss Earle’s career has been passed in Mr. 
Terry’s company, and she has gained a goodly knowledge of stage tech¬ 
nique at his hands. She is a Londoner by birth, being a daughter of Robert 
and Clara (Johnstone) Earle. She had considerable experience as a child 
actress, later winning approval in small roles in the support of Sir Henry 
Irving, with whom she remained three years. She was at the Vaudeville 
- Theatre for two seasons, during the long runs of “ A Night Out ” and 
“ Never Again.” Miss Earle was a member of Wilson Barrett’s company 
in 1898, shortly afterward joining Mr. Terry’s forces, and she has remained 
in his support the greater part of the time since, touring not only Eng¬ 
land and America with him, but South Africa as well. Her most recent 
work in England has been a provincial tour with Madge Carr Cooke in “ Mrs. 
Wiggs of the Cabbage Patch,” playing the role of Asia. Miss Earle is a 
clever, dependable little actress, and we would be glad to have her in 
America with greater frequency. 


117 


May 1 3 Effie Shannon 

E FFIE SHANNON is an uncommonly clever and talented actress, one, 
in fact, whose real dramatic worth has never been appreciated as it 
deserves by our theatregoing public, though she has a long list of 
personal successes to her credit. Born in Cambridge, Mass., and educated 
in Boston, Miss Shannon had considerable experience as a child actress, 
graduating into grown-up roles in the middle eighties in a touring pro¬ 
duction of “The Silver King.” The season of 1886-87, she appeared with 
Robert Mantell in “Tangled Lives” and “The Marble Heart,” and for a 
year and a half after this was a member of Daly’s company, scoring notably 
as Titania in “ A Midsummer Night’s Dream.” In April, 1889, she was 
in “ Robert Elsmere,” in August in “ The Lion and the Lamb,” the fol¬ 
lowing month in “ Shenandoah ” and on November 19th, of that year, she 
joined the Lyceum Theatre Company, playing ingenue roles with this organ¬ 
ization until the spring of 1893. Miss Shannon then spent a season and 
a half as leading woman with Rose Coghlan, after which she was in “ The 
District Attorney ” and with Mrs. Langtry in “ Gossip.” She was next 
with Olga Nethersole for a year, supporting William H. Crane the next 
season. Miss Shannon then joined hands with Herbert Kelcey for a co- 
starring tour, which combination has existed ever since, they having pro¬ 
duced the following plays: “ A Coat of Many Colors,” 1897; “ The Moth 
and the Flame,” 1898; “My Daughter-in-Law ” and “My Lady Dainty,” 
1900; “ Manon Lescaut ” and “Her Lord and Master,” 1901; “Sherlock 
Holmes,” 1902; “ Taps,” 1904; “ The Lightning Conductor,” 1905; “ The 
Daughters of Men.” 1906; “ Widowers’ Houses,” “ Bridge” and “ The Walls 
of Jericho,” 1907. In all of these Miss Shannon did most excellent work, 
probably her happiest achievements being in “ Her Lord and Master ” and 
“ Widowers’ Houses.” 



May 14 Frank Gillmore 

F^RANK GILLMORE, having won a reputation and following in both 
England and America, may really be considered as belonging to us now, 
for he has done many notable things on the American stage during the 
past eight years. Mr. Gillmore was born in this country, too, in New 
York City, of English parentage, but he passed all of his childhood in 
England. He made his stage debut on the other side, appearing in the 
support of his aunt, Sarah Thorne, with whom he played three years,. and 
for a similar period he played in stock at the Vaudeville Theatre, London. 
Mr. Gillmore made his professional debut in this country the season of 
1892-93, appearing under Charles Frohman in “ Settled Out of Court,” 
“ The Better Part,” “ Agatha,” “ Sweet Will ” and “ The Arabian Nights.” 
The two seasons following this he appeared on tour as Lord Windermere 
in “ Lady Windermere’s Fan.” Mr. Gillmore then returned to England, 
and for the next four years was seen in the support of such stars as E. 
S. Willard. Forbes Robertson, Beerbohm Tree and John Hare. He was 
back in America in the spring of 1900, appearing with Nat Goodwin in 
“ When We were Twenty-one.” The season of 1900-01, he was leading 
man with Mrs. Fiske in “ Becky Sharp,” followed by two years with the 
Fawcett Stock in Baltimore. lie divided the season of 1903-04 between 
“A Japanese Nightingale” and with Mrs. Fiske in “Mary of Magdala,” 
appearing the following year in both England and America with Forbes 
Robertson in “ Mice and Men,” “ Love and the Man ” and “ Hamlet.” The 
next year Mr. Gillmore appeared in four New York productions—“ As Ye 
Sow,” “ The Title Mart,” “ What the Butler Saw ” and “ Gallops,”—and 
then came a season, first in “ Man and His Angel,” and then with Henrietta 
Crosman in “ All-of-a-Sudden Peggy.” The season of 1907-08, Mr. Gillmore 
appeared on tour with Mary Mannering in “ Glorious Betsy.” 


118 


May 1 5 Mrs. Brown Potter 

/“■''ERTAINLY Mrs. Potter has had a strangely romantic career, one in 
V “' / which the fickle goddess of fortune has played many pranks. Born 
in New Orleans, La., the daughter of Colonel David Urquhart, she grew 
up to be a rarely beautiful woman, and became the wife of James Brown 
Potter (marriage dissolved in 1903), moving in New York’s most exclusive 
social set. Considerable experience in amateur theatricals awoke in her 
a desire for professional honors, and, despite the protestations of her friends 
and family, she made her stage debut on March 29, 1887, at the Hay- 
market Theatre, London, in “ Man and Wife.” She then joined forces with 
Kyrle Bellew, a combination which lasted eleven years, touring England, 
America and Australia. They first appeared jointly in this country at the 
Fifth Avenue Theatre on October 31, 1887, presenting “ Faustine de 

Bressier,” and during the many years that followed they built up a large 
repertory, a few of their plays being: “ Antony and Cleopatra,” “ Romeo 
and Juliet,” “ As You Like It,” “ Camille,” “ She Stoops to Conquer,” 
“ Francillon,” “ La Tosca ” and “ Charlotte Corday.” After Mr. Bellew and 
Mrs. Potter had parted company, in 1898, she joined the forces of Beer- 
bohm Tree in London, appearing with him in “ The Musketeers,” “ Carnac 
Sahib” and “Ulysses.” For the past six years she has not been especially 
conspicuous, save for a brief starring appearance in London, in 1904, in 
“ The Golden Light,” “ Forget-Me-Not,” “ Du Barri,” etc. She then appeared 
in vaudeville for a time, also starred in the British provinces in repertoire, 
and toured in South Africa in 1907 in “ La Belle Marsellaise.” Mrs. Potter 
has not figured in American theatricals since the spring of 1896. 


May 1 6 John Hare 

J OHN HARE, one of England’s finest character actors and a great favorite 
on both sides of the Atlantic, has had a most notable career on the 
London stage, having played almost thirty consecutive years in the 
British capital alone. He is a remarkably finished player, one of the very 
best of the present age, and it is with keen regret that one learns of his 
intent to shortly retire from the stage. Born in Giggleswick, Yorkshire, and 
educated at the grammar school there, he began his stage career on Septem¬ 
ber 28, 1864, in stock at the Prince of Wales’ Theatre, Liverpool. A year 
later he appeared in London at the theatre of the same name, where he 
remained for ten years, especially distinguishing himself in the Robertson 
comedies. He took over the management of the Court Theatre in 1875, 
where he was highly successful for four years, with a particularly brilliant 
company, and then, in conjunction with Mr. and Mrs. Kendal, he managed 
St. James’ Theatre for nine years, producing many successes. For five 
years following this he played at the Garrick, and since 1893 he has been 
starring at various London playhouses. He made his debut on the American 
stage December 23, 1896, appearing at Abbey’s in “ The Notorious Mrs. 
Ebbsmith,” returning the next season, his principal offerings being “ The 
Hobby Horse ” and “ Caste,” and his third and final visit was during 1900-01, 
when he presented “ The Gay Lord Quex.” Since then he has figured in 
several London productions, principally “ Little Mary,” “ The Alabaster 
Staircase ” and “ The Great Conspiracy,” and has starred most successfully 
through the provinces. On November 9, 1907, he was knighted by King 
Edward in acknowledgment of his faithful service to British dramatic 
art. As above, Sir John Hare has announced his retirement from the stage 
a short time hence. 


119 


May 1 7 Conway Tearle 

/°ONWAY TEARLE is rapidly proving himself a worthy son of a worthy 
sire, and is coming to the front in American theatricals in a most 
spirited manner. Even with credit where credit is due, it would seem 
the most natural thing in the world that the son of such distinguished parents 
as Osmond Tearle, of the glorious Wallack days, and Minnie Conway should 
be elected to high places in Stageland. He has many qualities in his favor, 
aside from his birthright, such as an attractive personality, magnetic force 
and technical skill. After having had considerable stage experience in Eng¬ 
land, in which country he also passed his youth and received his education, 
Mr. Tearle made his professional debut in this country in the spring of 1905, 
appearing at the Savoy Theatre with Grace George as John Kent in 
“ Abigail.” The season of 1905-06, he appeared on tour as Richard Ainslee 
in “ Mrs. Leffingwell’s Boots,” later in that same season joining the forces 
of Viola Allen as leading man, being cast for the part of the Duke of 
Malmsbury in “ The Toast of the Town.” The next season Mr. Tearle 
played Lionel Meredyth in “ A Marriage of Reason,” in the support of 
Kyrle Bellew and Fannie Ward, playing at Wallack’s Theatre, upon which 
same stage, exactly twenty-five years before, his father was the idol of the 
theatregoing public. In the fall of 1907, Mr. Tearle was Rex Allen in 
“ The Evangelist,” at the Knickerbocker, and upon the close of this piece 
he was seen on the road in the title role in “ Ben-Hur,” which part he had 
played in Australia in 1903, under J. C. Williamson’s management. With the 
advent of time and more experience, Conway Tearle should be a name of 
great import in the stage world. 


May 19 Georgia Waldron 

EORGIA WALDRON gave considerable promise a few years ago as 
an actress of rugged, emotional roles, possessing not a little force and 
power in portraying parts of a rather primitive sort. But she has not 
appeared in public for the past four years, and, to all appearances, has per¬ 
manently retired from the stage. Miss Waldron was, indeed, born to the 
stage, being a daughter of George and Isabel Waldron, both well-known 
players, and her brother, Charles Waldron, is one of our best known leading 
men. As to be expected, she served a faithful apprenticeship as a child 
actress, playing Little Eva in “ Uncle Tom’s Cabin,” and she was a member 
of the first complete American company to invade England, crossing the 
pond in 1880 with McKee Rankin, opening on April 2d at Sadler’s Wells 
Theatre, London, in “ The Danites,” remaining on the other side nine months 
in all. Miss Waldron then attended school at Geneva, N. Y., for some time, 
resuming her stage career in 1888 with Cora Tanner in “ Fascination.” She 
won her greatest success as an actress in the support of David Higgins, with 
whom she remained many years, one of her earliest successes being in 
“ Kidnapped.” She also won considerable attention by her forceful por¬ 
trayal of ’Cindy Lane in “ At Piney Ridge ” at the American Theatre, in 
1897, and she was seen at this same playhouse two years later as Mandy 
Monroe in “ We ’Uns of Tennessee.” The season of 1901-02, she played 
Evelyn Blair in “ Up York State,” in which piece she was seen for over 
two years, and her last role on the stage was with Mr. Higgins as Eleanor 
Downs in “ His Last Dollar,” during the season- of 1903-04. Though she 
has not announced her retirement from the stage, Miss Waldron has not 
appeared behind the footlights since then. 


120 


May 20 Dorothea Baird 

r\OROTHEA BAIRD is a delightful and charming young English actress, 
towards whom American theatregoers feel most friendly, having in 
remembrance her excellent work done here two seasons ago in the 
support of her husband, H. B. Irving. Of a dainty, rather fragile personality, 
she is especially well suited to delicate, girlish roles, though she will probably 
never come into the heavier heroics. Miss Baird began her stage career 
in the early nineties as a member of Ben Greet’s Shakespearean company. 
She scored her first big success in 1895 by her creation of the title role 
in “ Trilby, 5 ’ to the Svengali of Beerbohm Tree, she being specially selected 
by George du Maurier for this role. It was after this that she married Mr. 
Irving, and the stage knew her not for a time. But with the resumption of 
her work came many new glories, a few of her biggest successes being with 
Mr. Tree in “A Midsummer Night’s Dream” and “Nero,” with Arthur 
Bourchier in “ The Wedding Guest,” George Alexander in “ If I were King,” 
and she was the original Mrs. Darling in “ Peter Pan.” Miss Baird accom¬ 
panied Mr. Irving upon his initial starring tour of this country, the season 
of 1906-07, and her roles in his repertoire were: Francesca in “ Paolo and 
Francesca,” Queen Henrietta Maria in “ Charles I.,” Iolanthe in “ King 
Rene’s Daughter ” and the title role in “ Mauricette,” doing notably fine 
work in this last mentioned piece. Since her return to England, Miss 
Baird has continued to play opposite her husband, and has added a new 
role to her repertoire, that of Lavinella Orsini in “ Caesar Borgia.” She 
is a refreshing, pleasing actress, with an engaging spirit of youth about 
her quite enchanting, and \ye look forward with pleasure to seeing her 
again in our midst. 



May 21 Richard Bennett 

D ICHARD BENNETT has long been one of the most valued actors on 
the Frohman pay-roll, and by a series of consistently good portrayals 
he has won quite an enviable position among the leading American 
actors of the day. Born in Deacon’s Mills, Indiana, and educated at schools 
in Logansport and Kokomo, Mr. Bennett made his stage debut May 10, 
1891, at the Standard Theatre, Chicago, in “ The Limited Mail.” During 
his early years behind the footlights, he was associated with a number of 
melodramas and farces, such as, “ The Waifs of New York,” “ The Fatal 
Card,” “Jane,” “Charley’s Aunt,” “ Edgewood Folks” and “Miss Francis 
of Yale.” He appeared at the Knickerbocker Theatre in May, 1897, in “A 
Round of Pleasure.” It was in the fall of that year that Mr. Bennett became 
a member of Charles Frohman’s forces, and he has appeared almost exclu¬ 
sively under that manager ever since. The following is a list of his leading 
engagements since then: 1897-98, in “ The Proper Caper,” at the Madison 
Square, and “The White Heather,” at the Academy; 1898-99, on tour in 
“The White Heather,” in “Her Atonement,” at the Academy, “At the 
White Horse Tavern,” at Wallack’s, and “ His Excellency the Governor,” 
at the Lyceum; 1899-00, on tour in “At the White Horse Tavern”; 1900-01, 
with Annie Russell in “A Royal Family”; 1901-02, first with Miss Russell, 
then in “ Sweet and Twenty,” at the Madison Square, and in Chicago in 
“Jim Bludso”; 1902-03, with William Faversham in “Imprudence”; 1903-04, 
with Robert Edeson in “ The Rector’s Garden,” in Boston, then in “ The 
Best of Friends,” at the Academy, and in “ The Other Girl,” at the Cri¬ 
terion ; 1904-05, on tour in “ The Other Girl ”; 1905-06, with Robert Loraine 
in “ Man and Superman,” and in “ The Lion and the Mouse ”; 1906-07, in 
“ The Hypocrites,” at the Hudson, and in London with Robert Edeson 
in “ Strongheart ” and Grace George in “ Divorcons ” ; 1907-08, on tour in 
“ The Hypocrites,” in “ Twenty Days in the Shade,” at the Savoy, and 
on tour in “ Going Some.” A glance at the above list will serve to convince 
one of Mr. Bennett’s calibre as an actor. 


121 


May 22 Alla Nazimova 

C ERTAINLY the gods of success have been kind to Alla Nazimova! A 
star of the first magnitude, with a reputation and following in four 
countries, no less, and still under thirty, seems to be quite a fair por¬ 
tion of this world’s success and enough to satisfy even the most ambitious. 
There have been few instances of more sudden recognition than in the ca.se 
of Madame Nazimova, for, almost within a night, she has taken her place 

at the head of her profession, a 
place that she bids fair to hold for 
some time to come, despite the con¬ 
tention of many that her vogue is a 
thing of the hour and will quickly 
pass. Madame Nazimova was born 
in Yolta, Crimea, Russia, and was 
educated in Odessa and Moscow. 
She became a pupil at a dramatic 
school in the latter city, where she 
carried off a diploma and a gold 
medal. Armed with these, she 
started out immediately as a lead¬ 
ing woman, playing for three years 
in various Russian provincial stock 
companies, and for one season 
played leads at the Imperial Theatre, 
St. Petersburg, her repertoire em¬ 
bracing everything from Zaza to 
L’Aiglon, this latter, by the way, 
being the only masculine role she 
has ever attempted. Madame Nazi¬ 
mova then formed an alliance with Paul Orleneff, and they immediately 
invaded foreign territory, playing a successful term in Berlin. This was 
followed by an appearance at the Avenue Theatre, London, opening 
January 21, 1905, in “ The Chosen People,” in which Madame Nazimova 
played Lia. It was this same part that introduced her to American audiences, 
opening at the Herald Square Theatre on March 23d, of that same year, 
acting in her native tongue. Her art was recognized immediately and 
she was greatly praised upon all sides for her work in many subsequent 
performances. Finally pressure was brought to bear to have Madame 
Nazimova learn the English tongue, and within less than six months’ time 
she had mastered the intricacies of our language sufficiently to venture an 
appearance on the English-speaking stage. She made her debut at a special 
matinee at the Princess Theatre in the title role of “ Hedda Gabler ” on 
November 13, 1906, and awoke the following day to find herself famous. 
She played in New York City exclusively, at the Princess and Bijou theatres, 
until the middle of February, 1908, when she went on tour. In addition 
to “Hedda Gabler,” Madame Nazimova has played: Nora in “A Doll’s 
House,” the Comtesse Nina de Lorenzo in “ The Comtesse Coquette,” Hilda 
Wangel in “ The Master Builder ” and Lona in “ The Comet.” Her art 
has created more discussion, pro and con, than any present-day player, and 
it will be a most interesting thing to watch all of her future movements. 





May 23 Dion Boucicault 

'T’HE name of Boucicault has long been a conspicuous light in the theatrical 
1 firmament, though American theatregoers are only slightly acquainted 
with the present-day Dion of that illustrious ilk. His name is rated 
with the stage elect of London, and his is a most successful position upon 
the other side. Mr. Boucicault was born in New York City, the third child 
of Dion and Agnes (Robertson) Boucicault, and he was christened George 
Darley, later assuming the name of Dion. He was educated in England 
and France, making his debut as an actor October n, 1879, a t Booth’s 
Theatre, playing the Dauphin in “ Louis XI.,” in the support of his father. 
Shortly afterward he went to England, and appeared there several years, 
making a special hit at St. James’ Theatre in “ A Scrap of Paper.” He was 
back in this country in the spring of 1883, appearing at the Star Theatre with 
his father, playing Colley in “ The Amadan ” and Danny Mann in “ The 
Colleen Bawn.” He then went to Australia, and became so enamored of 
that country that he remained there ten years, along with Robert Brough, 
managing the Bijou Theatre, Melbourne. He returned to London in 1896, 
and for a time managed the Court and Criterion theatres, becoming producer 
for Charles Frohman at the Duke of York’s Theatre in 1901, a position 
he still holds. During these past dozen years in London, Mr. Boucicault 
has also had many things scored to his credit as an actor, having figured 
conspicuously in the following productions: “ Lady Huntworth’s Experi¬ 
ment,” “ Trelawny of the Wells,” “ A Royal Family,” “ Letty,” “ Raffles,” 
“ The Truth ” and “ Miquette.” Mr. Boucicault made a flying trip to our 
shores in the fall of 1902 in order to stage “ Iris ” for Mr. Frohman, but 
he has not acted in our midst for twenty-five years. 

Mav 24 A. W. Pinero 

y\ WONDERFULLY gifted dramatist is A. W. Pinero, and his fame and 
** popularity are equally great upon both sides of the Atlantic. He has 
had a long and faithful service in the art of playwriting, and his wares 
find an instant sale, though for the past ten years he has written upon 
an average of less than one play a year. A Londoner by birth, Mr. Pinero 
started out in life as a solicitor, but soon gave this up to embark upon 
a career as an actor, beginning in 1874 in stock at the Royal Theatre, Edin¬ 
burgh. Two years later, and for five in all, he was a member of Sir Henry 
Irving’s company at the London Lyceum, during which time he wrote, and 
had produced, three one-act plays—‘‘£200 a Year,” “Daisy’s Escape” and 
“ Bygones,”—the success of which decided him to abandon acting for the 
art of playwriting. His first big successes were “ The Money-Spinner,” 1880, 
and “ The Squire,” 1881, both produced by John Hare and Mr. and Mrs. 
Kendal, and since then all has been plain sailing in the Pinero camp. The 
following is a list of his best known plays, with the date of their London 
production, all of which, with the single exception of the last mentioned, 
have been seen in this country: “The Ironmaster,” from the French, 1884; 
“ The Magistrate,” 1885; “ The Schoolmistress,” 1886; “ The Hobby Horse,” 
1886; “Dandy Dick,” 1887; “Sweet Lavender.” 1888; “The Weaker Sex,” 
1889; “The Profligate,” 1889; “The Cabinet Minister,” 1890; “Lady Bounti¬ 
ful.” 1891; “The Amazons,” 1893: “The Second Mrs. Tanqueray,” 1893; 
“The Notorious Mrs. Ebbsmith,” 1895; “The Benefit of the Doubt,” 1895; 
“The Princess and the Butterfly,” 1897; “Trelawny of the Wells,” 1898; 
“The Gay Lord Quex,” 1899; “Iris,” 1901; “Letty,” 1903; “A Wife With¬ 
out a Smile,” 1904: “His House in Order,” 1906; and “The Thunderbolt,” 
1908. A goodly list of big successes this, at least one of which, “ Mrs. 
Tanqueray,” will live for many years to come as one of the finest specimens 
of modern-day playwriting, strong in story and technical skill, and popular 
alike with both players and public. 



123 


Marie Doro 


May 25 


' 1 ’HIS is the generation of youth in Stageland, that being the foremost 
**■ requirement for success nowadays, and it ‘is this factor, plus a most 
attractive personality, that has made a star of Marie Doro within so 
short a space of time. Miss Doro was born in Duncannon, Pa., her own 
name being Rogers, and she passed her childhood days in Kansas City, Mo. 
She began her stage career on June 9, 1901, with the Criterion Stock, St. 
Paul, Minn., a few of her roles with that organization being Katherine 
in “ Aristocracy,” Irene in “ Sapho,” Blanche Haye in “ Ours,” Mrs. St. 
Claire in “ Uncle Tom’s Cabin ” and Marianne in “ The Two Orphans.” 
She next appeared in the small towns for a season as Cora in “ Naughty 
Anthony.” The season of 1902-03, she was Rosalba in “ The Billionaire,” 
supporting Jerome Sykes, afterward appearing in San Francisco with the 
Daly Musical Comedy Company in “ A Runaway Girl ” and “ The Circus 
Girl.” The next season Miss Doro joined Charles Frohman’s forces, appear¬ 
ing successively in “ The Girl from Kay’s,” “ Little Mary ” and with William 
Gillette in “ The Admirable Crichton.” She was next seen in “ Granny,” 
supporting Mrs. Gilbert, and in February, 1905, she created the title role in 
“ Friquet,” at the Savoy. In April of that year she went to London with 
William Collier to play Lucy Sheridan in “ The Dictator.” Miss Doro, the 
season of 1905-06, re-joined Mr. Gillette’s forces, playing almost entirely 
in London, her roles being the name part in “ Clarice,” Alice Faulkner in 
“ Sherlock Holmes ” and Caroline Mitford in “ Secret Service.” She 
continued with Mr. Gillette the season following, touring this country in 
“ Clarice,” and, 1907-08, she took a permanent place in our stellar firmament 
by her pleasing work as Carlotta in “ The Morals of Marcus.” 






Charles 



A LTHOUGH the name of Charles Le Seur is an unknown quantity to 
** American theatregoers, except to those mighty well posted upon musical 
and stage affairs upon John Bull’s island, it is not unlikely that he will 
sooner or later be given a hearing in our midst. He has gained a most 
extensive repertoire of leading tenor roles in English opera, and as good, 
experienced tenors are not an every-day commodity hereabouts, it is a most 
likely thing that he will some day be imported to bur shores. Mr. Le Seur 
was born at St. Helier’s, on the Isle of Jersey, the same town that gave 
Mrs. Langtry to the world. He was educated upon his native heath and in 
France, early displaying a penchant for musical affairs by becoming a church 
organist at the age of fourteen. He made his first success on the stage 
in 1902 with the Turner English Opera Company, remaining three years 
with this organization, and for the past few years he has appeared with 
the Carl Rosa Opera Company. A few of the operatic roles in which Mr. 
Le Seur has won his greatest favor are: Manrico in “ II Trovatore,” Tonio 
in “ The Daughter of the Regiment,” the title role in “ Faust,” Thaddeus 
in “ The Bohemian Girl,” Lorenzo in “ Fra Diavolo,” Hardress in “ The 
Lily of Killarney,” Cassio in “Othello,” Walther in “Tannhauser” and Don 
Caesar in “ Maritana,” this last being his favorite one. He has gained a 
large following in England, especially through the provinces, where the 
Carl Rosa forces are appreciated to the fullest extent, and as his list of 
roles is constantly upon the increase, he will probably be very well equipped 
if he ever ventures an appearance upon American soil. 


124 


May 27 Fred McNaughton 

T was a well-known dramatic writer who once referred to them as “ those 
marvelous, merry McNaughtons,” and certainly a more happily apropos 
title could not have been hit upon for the McNaughtons, the monstrously 
clever young Englishmen who have made such a splendid impression upon 
American theatregoers during the past two years. With keen originality 
and exceptional humorous insight, these clever 
fellows have evolved an act replete with the best 
type of clean, wholesome fun, and they have 
been given a meed of public support fully worthy 
of their talents—and more than that one can¬ 
not say. Fred McNaughton, the stouter and 
“ straight ” end of the team, is a good-looking 
chap, with an apt. alert appreciation of the fine 
comedy points to be gained by quiet, unobtrusive 
methods. He brings a spirit of poise and rather 
frank ingenuousness into the act that is of the 
greatest value. With a splendid training in the 
British provinces, later appearing in the London 
music halls, and always being in demand for the 
pantomimes that flourish in England around 
Christmas time, Mr. McNaughton’s stage train¬ 
ing has been of the best sort, readily under¬ 
stood by those who have seen him behind the 
footlights. Along with his brother, the highlv 
amusing Tom, he is to appear during the season 
of 1908-09 in the big production of “ The Bonnie 
Belles of Scotland,” the Cohan-McNally piece 
which Klaw and Erlanger and F. Ziegfeld are 
going to produce, a part having been specially 
written in the piece for him, and it goes with¬ 
out saying that his will be a big personal success. A splendid thing it 
is to note the enormous popularity of the McNaughtons on both sides of 
the Atlantic, for they deserve every bit of the praise that has fallen to their 
lot, probably being the most unique pair of entertainers ever imported from 
the other side. Practically unheralded and unknown, the McNaughtons 
came into our midst a trifle less than two years ago, and now their place 
is a conspicuous and undisputed one among our most popular favorites. 







Now the bright morning star, day’s harbinger, 

Comes dancing from the East and leads with her 
The flowery May, who from her green lap throws 
The yellow cowslip and the pale primrose. 

Hail, bounteous May, that doth inspire 
Mirth and youth and warm desire; 

Woods and groves are of thy dressing, 

Hill and dale doth boast thy blessing; 

Thus we salute thee with our early song, 

And welcome thee and wish thee long. 

—Milton’s “ On a May Morning.” 


125 




Robert Hilliard 


May 28 


T 70 R the past twenty years Robert Hilliard has been a leading satellite in 
the theatrical firmament, and few actors there are who> are more finished 
or more at home than he when in the glare of the footlights. He has had 
a most successful stage career, being greatly aided by handsome appearance, 
and his honors have come to him without apparent effort. Mr. Hilliard was 
born in New York City, spent his youth in Brooklyn and graduated from a 
Canadian college. Always fond of the stage, he began life in a Wall Street 
office, but soon gave this up for the stage, making his debut at the head 
of his own company on January 18, 1886, at the Criterion Theatre, Brooklyn, 
in “ False Shame.” The four years- following this he was leading man in 
such productions as " A Daughter of Ireland,” “ Saints and Sinners,” “ Mr. 
Barnes of New York,” “ Paul Kauvar,” “ A Possible Case,” “ The Banker’s 
Daughter,” with Mrs. Langtry in “ As in a Looking Glass ” and Nat Goodwin 
in a “ Gold Mine.” He then became identified with a number of big melo¬ 
dramatic productions, such as, “ Blue Jeans,” “ Across the Potomac,” “ The 
White Squadron,” “ Captain Paul ” and “ Sporting Life.” As a star Mr. 
Hilliard made quite a reputation in a number of light comedies, some of 
his biggest successes being, “ The Nominee,” 4 ‘ The Sleep Walker.” “ Lost— 
24 Hours ” and “ The Mummy.” More recently he has been seen in “ Wheels 
within Wheels,” “ Jim Bludso,” “ That Man and I ” and with Blanche Bates 
in “ The Girl of the Golden West.” Mr. Hilliard has appeared at frequent 
intervals in vaudeville, indeed, he has devoted the past two years to that 
field exclusively, and he has met with great success in dramatic playlets, the 
most popular of which have been, “ The Littlest Girl,” “ As a Man Sows,” 
“ Number 973 ” and “ The Man Who Won the Pool.” But Mr. Hilliard 
is worthy of the three-act play rather than vaudeville sketches. 







Herman 


nr HERE are few actresses who can boast of greater popularity and a 
* larger following over the popular-priced circuits than Selma Herman. 

She has achieved a most prominent position in the world of melo¬ 
drama, and lovers of strenuous and explosive dramatic fare have worshipped 
at her shrine for many years. It was in Adrian, Mich., that Miss Herman 
came into the world, being a daughter of Nathan and Blanche Herman. 
She was educated at the Ursuline Convent, in Toledo, Ohio, and it was in this 
same city that she began her stage career, making her debut with Frank 
Mays in “ The Streets of New York.” A short time after this she secured 
the rights to the melodrama “ Darkest Russia,” in which she made her New 
York debut on January 8, 1894, at the Fourteenth Street Theatre, and for 
over four years she was identified with this piece. Miss Herman then played 
a lengthy term with the Ellis and Brady Stock Company at the Lyceum 
Theatre, Cincinnati, after which she created the role of Virginia Dowling 
in “ Report for Duty.” Beginning with the season of 1899-00, and for two 
years, Miss Herman was seen in “ A Young Wife,” followed by a season 
divided between a starring tour in “ Under Two Flags ” and with the 
Hopkins Stock, Chicago. The three seasons following this she appeared 
respectively in “ For Her Children’s Sake,” “ The Charity Nurse ” and 
“ Wedded, but no Wife.” Then came two years at the head of the com¬ 
pany presenting “ The Queen of the Convicts.” In the spring of 1908, 
Miss Herman played a special stellar term at Hart’s Kensingston Theatre, 
Philadelphia, presenting a repertoire of her best known roles. 


12G 


Charles Rock 


May 30 


/^HARLES ROCK is immensely popular with the London theatregoing 
public, being a player of character comedy roles, and many have been 
the successes scored to his credit in the British capital. Our theatre¬ 
goers, at least those with good memories, may recall Mr. Rock’s work here 
in the support of John Hare, during the season of 1895-96, when he appeared 
at Abbey’s Theatre as George Brodrick in “ The Notorious Mrs. Ebbsmith ” 
and Lorimer in “ A Pair of Spectacles.” He was born in Chittore, India, 
his real name being Arthur Charles Rock Le Fabeek, and his father was 
a surgeon-general in the Indian Army. After an education gained at 
Brighton, Mr. Rock began his stage career in 1885, appearing at the St. 
James’ Theatre, London, in “ As You Like It,” under the management of 
John Hare and Mr. and Mrs. Kendal. He made rapid strides up the stage 
ladder, remaining with this management some time, afterward appearing 
with Mr. Hare for six years, including a tour of this country. Mr. Rock’s 
most recent work in London has been in the support of Oscar Asche and 
Lily Brayton, with whom he played Quince in “ A Midsummer Night’s 
Dream,” Joseph Lipscombe in “ The Lonely Millionaires,” Grumio in “ The 
Taming of the Shrew,” Sir Andred in “ Tristram and Iseult ” and Iphicles 
in “ The Virgin Goddess.” He then appeared in Lewis Waller’s company 
for quite a time, being cast for Rakell in “Monsieur Beaucaire ” and Friar 
Tuck in “ Robin Hood.” On February 28, 1908, Mr. Rock scored a big 
success at the Haymarket Theatre in a strong one-act playlet, “ The Pride of 
the Regiment,” in which he played the role of a stern, gruff old soldier, and 
was roundly praised by the London critics for his faithful portraiture. 




Margaret 




1 V/IARGARET DREW, a clever and painstaking actress, ambitious and 
thoroughly sincere, has been conspicuously before the theatregoing 
public for the past six years, and she may take every pride in a record 
of work well done. It was in the fall of 1902 that Miss Drew first attracted 
any special notice in stage circles, giving a most spirited portrayal of the 
music-hall girl, La Caprice, in “ Hearts Aflame,” at the Bijou Theatre. 
Upon the close of this piece, she played a special engagement with the 
Proctor Stock Company, appearing in “ Pink Dominoes,” “ The Senator ” 
and “ My Sweetheart.” The season of 1903-04, Miss Drew appeared on 
tour as Lady Lumley in “ The Mummy and the Humming Bird,” in the 
support of Paul Gilmore. The two years following this she was associated 
with William Morris in “ Mrs. Temple’s’ Telegram,” first playing the comedy 
role of Mrs. Frank Fuller and later the lead of Mrs. Jack Temple. She next 
succeeded Grace Filkins in the role of Mrs. Reginald Crosby in “ The Daugh¬ 
ters of Men.” The season of 1907-08, Miss Drew appeared in the support 
of May Robson as the Girl from Kalamazoo in “ The Rejuvenation of Aunt 
Mary.” As can be seen from the above, Miss Drew’s services are always in 
demand in the better class of companies, and it is good to chronicle that 
she can always give a satisfactory interpretation to each role for which she 
is cast. 


127 





























































# 



























































- - * ' - ■ ‘ 













































■ 





















SOL SMITH RUSSELL. 


Born, June 15, 1848. 


Died, April 28, 


1902 



































































































































♦ 



- 















- 






























































































June 1 


John J. Farrell 


J OHN J. FARRELL has made quite a name for himself in the stock 
company field, to which he has largely devoted his talents the past few 
years, and previous to this he was most successful in melodramatic pro¬ 
ductions. He has gained an enormous repertoire of leading roles, probably 
five hundred in all, ranging from Romeo to Cyrus Blenkarn in “ The Middle¬ 
man ” and from Ingomar to Robert Clay in “ Soldiers of Fortune,” and he 
enjoys quite an enthusiastic following in many of our leading cities. Mr. 
Farrell was born in Bangor, Me., and was graduated from the High School 
there in 1884. He began his theatrical career immediately afterward, first 
appearing with a circus, later devoting his talents to the vaudeville stage. 
Mr. Farrell then went upon the dramatic stage, appearing in the support 
of Margaret Mather and Joseph Haworth, and for five consecutive seasons 
he played the part of the war-correspondent, Thomas Henry Bean, in “ Held 
by the Enemy.” He was next seen in the support of Stuart Robson, with 
whom he remained two seasons, playing Lord Arthur Trelawney in “ The 
Henrietta,” Antipholus of Ephesus in “The Comedy of Errors ” and Hast¬ 
ings in “ She Stoops to Conquer.” For a long time after this, Mr. Farrell 
was identified with the melodrama stage, being cast for important parts in 
such productions as: “The Stowaway,” “A Flag of Truce,” “The Still 
Alarm ” and “ On the Mississippi.” He next created the role of Paul Els- 
worth in “Shall We Forgive Her?” in which part he was seen for two 
seasons, supporting both Hannah May Ingham and Marie Wainwright in 
this piece. The season of 1899-00, and practically for three consecutive 
seasons, Mr. Farrell was leading man of the Forepaugh Stock Company in 
Philadelphia, appearing for a few months, in the fall of 1901, with Margaret 
May in “ Winchester.” He then starred at the head of his own company 
for a season in the dramas “ The Bandit King ” and “ The Cattle King,” 
followed by a year with the Hopkins Stock, Memphis, Tenn. He began the 
season of 1904-05 in “ The White Tigress of Japan,” at the American Theatre, 
later playing leads with the Forepaugh Stock, Cincinnati. The season fol¬ 
lowing he appeared for a brief time with the Furton Stock, New Orleans, and 
was then featured as Charles Brandon in “ When Knighthood was in 
Flower,” supporting Virginia Drew Trescott. At the beginning of the 
season of 1906-07, Mr. Farrell made a brief stellar attempt in a piece called 
“ The Count and the Convict,” afterward appearing with the Albee Stock, 
Pawtucket, R. I., and in the fall of 1907 he was playing in stock in Scranton, 
Pa. Rather a busy career this. 



And what is so rare as a day in June? 
Then, if ever, are perfect days, 

Then Heaven tries Earth if it be in tune, 
And over it softly her warm ear lays. 


—Lowell. 


131 


Belle Blanche 


June 2 

DELLE BLANCHE is a name that has become a potent factor in the 
theatre world, for this clever, ambitious young artiste has proven her 
right to acceptance with the leading stage favorites of the day. In the 
world of vaudeville, to which branch of the profession she lends her talents, 
she is an acknowledged headliner of the very first calibre, and her large 
army of admirers is constantly on the increase. Miss Blanche has estab¬ 
lished herself by a series of imitations of well- 
known players, a field in which she has faith¬ 
fully and ' loyally labored for several seasons, 
until she has so perfected her art as to com¬ 
pletely stand in a class by herself. She draws 
a most faithful line of portraiture in each of her 
imitations, perfectly catching the spirit of those 
she imitates, and, as one critic truly said of her, 
“ She is so good as a mimic that she could readily 
abandon telling the audience the names of the 
originals.” Though it is on the vaudeville stage 
that Miss Blanche has won her greatest name 
and following, she is by no means a stranger to 
the musical-comedy world, as she played in vari¬ 
ous musical plays under the management of the 
Shuberts for two seasons. Naturally enough, 
even with all the success that she has known, 
Miss Blanche, who, by the bye, is a New York 
girl, is most ambitious to seek a wider, more 
individual and more comprehensive field than 
that to which the mimetic art confines her, and 
her hopes and ambitions are centered upon be¬ 
coming an operatic prima donna soprano. Her 
voice is a beautiful soprano, full, rich and true, 
with a purity of tone and pitch rarely found 
in so young a singer, for this little lady is not yet out of her ’teens, and, as she 
is constantly studying under the best possible teachers, it is quite a probable 
thing that a brilliant operatic career lies before her at no great distant date. No 
less an eminent authority than Caruso, the marvelous tenor, who has heard 
her sing several times, predicts a wonderful operatic future for her. A 
lucky young woman is Belle Blanche, magnetic and attractive, rarely gifted 
and most successful, and, most happily, she is deserving of all the many 
favors showered upon her. With youth, beauty and talent to aid her, she 
should have a most happy and brilliantly artistic career. 





So sweet, so sweet, the roses in their blowing, 

So sweet the daffodils, so fair to see, 

So blithe and gay the humming bird a-going 
From flower to flower and hunting with the bee. 

—Nora Perry’s “ In June.” 


132 




Robert Edeson 


June 3 

r | 'HE younger stage generation of masculine stars has a most worthy rep¬ 
resentative in Robert Edeson, who for the past seven years has occupied 
a most enviable position in the stellar firmament. It was in New 
Orleans, La., that Air. Edeson came into the world, being a son of the late 
George R. Edeson, himself famed as a comedian and stage director. Though 
the son of an actor, Air. Edeson had little desire for a stage career, and 
became treasurer of the Park Theatre, Brooklyn, in which city he lived as 
a youth. But the footlight fever was in his blood, and he became an actor 
in 1887 with Cora Tanner in “ Fascination.” The next year he appeared 
with a traveling company in “ A Night Off,” followed by a season divided 
between a melodrama, “ The Dark Secret,” and with Louis Aldrich in 
“ The Editor.” The season of 1891-92, Air. Edeson appeared first in “ The 
Good Old Times,” at the Fourteenth Street Theatre, afterward supporting 
Helen Barry in “ A Night’s. Frolic.” He was then with Charles Dickson 
in “ Incog ” for a season, followed by a year with the Boston Aluseum 
Stock. Air. Edeson appeared on the road, the season of 1893-94, in “ The 
Girl I Left Behind Ale,” and the three years following this he was a mem¬ 
ber of the Empire Theatre Company, appearing in “ The Alasqueraders,” 
“Gudgeons,” “ John-a-Dreams,” “Liberty Hall,” “Sowing the Wind,” 
“Alarriage,” “Bohemia,” “The Benefit of the Doubt” and “Under the Red 
Robe.” He varied this term a bit by appearing for a time with John Drew 
in “ The Squire of Dames,” and was also in “ Thoroughbred,” at the Gar¬ 
rick. The season of 1897-98, Air. Edeson created the title part in “ The 
Little Alinister,” supporting* Alaude Adams, which part he played two years, 
followed by a short term in “ His Excellency the Governor.” In the sum¬ 
mer of 1899, he created Lieutenant Denton in “ Arizona,” in Chicago, and 
the winter following he appeared first in vaudeville in a dramatic sketch, 
was then in “ The Children of the Ghetto,” and finally was with Airs. Le 
Aloyne in “ The Greatest Thing in the World.” He began the season of 
1900-01 with Airs. Le Aloyne, later joining Henrietta Crosman in “ Alistress 
Nell ” and Amelia Bingham in “ The Climbers,” remaining with Miss 
Bingham exactly a year. Mr. Edeson became a star in the spring of 
1902, and since then has produced the following plays: “ Soldiers of 
Fortune,” “ The Rector’s Garden,” “ Ranson’s Folly,” “ Strongheart,” 
“ Classmates,” “ The Sinner ” and “ The Call of the North.” 


It is the month of June 
The month of leaves and rosets, 

When pleasant sights salute the eyes 
And pleasant scents the noses. 

—N. P. Willis. 


133 


June 4 Clara Blandick 

C LARA BLANDICK has come rapidly to the front during her short 
professional career, having proven herself to be an exceptionally capa¬ 
ble leading woman, and she has won a New York reputation of consid¬ 
erable import, one which promises to bring her into the full tide of public 
success. Miss Blandick’s youth was a strangely romantic one, she being 
born on board an American ship, commanded by her father, at Hong Kong, 

China, and for the first two years and eight 
months of her life she was never upon land, 
traveling around the world by water. Her fam¬ 
ily finally settled in Boston, and it was in that city 
she made her stage debut, appearing at the Tre- 
mont Theatre in “ The Walking Delegate.” 
After appearing a fortnight in this piece and 
without ever having seen the ’script, she was 
suddenly called upon at three hours’ notice to 
play a leading role, which she did with great suc¬ 
cess. She next appeared in “ The Tarrytown 
Widow,” and for two seasons was leading woman 
in “ Because She Loved Him So.” The season 
of 1901-02, Miss Blandick appeared with E. H. 
Sothern, being hastily summoned to replace 
Cecilia Loftus in the cast of “ Richard Love¬ 
lace,” after having had only a brief reading re¬ 
hearsal with the star, the company not even 
knowing what she looked like. She also created 
the role of Jehannetton in “ If I Were King,” with 
Mr. Sothern. She next played Glory Quayle in 
“ The Christian,” on tour, and in August, 1903, 
was seen in this piece at the Academy of Music, 
with E. J. Morgan and several of the original cast. 
Miss Blandick then created Gwendolin Conron in 
“ Raffles,” with Kyrle Bellew, a part she played three consecutive seasons, and 
was also seen in the one-act play, “ The Sacrament of Judas,” with this same 
star. During this time she was also Marianne in the star-cast of “ The Two Or¬ 
phans,” at the New Amsterdam Theatre, and the summers of 1902, 1903 and 1905 
she played leads with the Hunter-Bradford Stock, Worcester, Mass. She 
then shared honors with W. J. Kelley in a series of one-act plays at Keith 
and Proctor’s One Hundred and Twenty-fifth Street Theatre, and the season 
of 1907-08 she was highly successful as leading woman with Walker White- 
side in “ The Magic Melody,” later supporting Cyril Scott in “ The Royal 
Mounted,” at the Garrick. Miss Blandick, dainty, petite and graceful, 
has attained a leading place among our best known players, and her stage 
honors have come to her solely upon the strength of her ability, ambition 
and magnetic personality. 



The sun has drunk 

The dew that lay upon the morning grass; 

There is no rustling in the lofty elm 
That canopies my dwelling, and its shade 
Scarce cools me. All is silent save the faint 
And interrupted murmur of the bee, 

Settling on the sick flowers, and then again, 
Instantly on the wing. 

—Bryant’? “ Summer Wind.” 





June 5 Rosie Lloyd 

R OSIE LLOYD, a clever and talented member of a wonderfully clever 
and talented family, has made a most favorable impression upon Ameri¬ 
can theatregoers and by dint of earnestness and sincerity of purpose 
she has attained a place in our affections that will stand her in good stead 
throughout the rest of her career. She has put up a brave fight to win 
recognition solely upon her merits alone, and, as a sure evidence of the per¬ 
ception of our theatregoing public, 
she has not fought in vain. Miss 
Lloyd has all the qualifications that 
win success in the vaudeville world 
—youth, energy and ambition, backed 
up by a wholesome personality, one 
strangely free from any theatrical 
mannerisms or affectations—and is 
the possessor of an exceptionally 
strong singing voice. Of London birth 
and the youngest, professionally 
speaking, of the famous Lloyd family, 
she began her stage career in her early 
’teens as a music hall singer, win¬ 
ning approval from the start, and 
she was high in favor, both in Eng¬ 
land and South Africa, long before 
embarking for these shores. Nat¬ 
urally enough. Miss Lloyd had a 
certain feeling of hesitancy about 
coming to this country, as she would 
have to stand comparison with her 
sisters, the brilliant Marie and the fascinating Alice, both of whom had 
preceded her here, and she scarcely felt equal to the test, they being 
far more experienced than she. However, any such fears were wholly 

and entirely groundless, a fact which she quickly proved the moment 
of her first appearance before an American audience, which occurred at the 
Colonial Theatre on February 17, 1908. With her refreshingly girlish per¬ 
sonality, her sweet and charming manner, and her lack of any fuss and 
frills, she made an instantaneously favorable impression and stood upon 
her own individual merits with all possible promptitude. Miss Lloyd’s 
repertoire of songs, too, was of the happiest, and one in particular, “ Moon¬ 
light on the Prairie,” made her famous in America. She renders all her 
songs with a delightful naivete, a girlish simplicity, that catches her audience 
at once and, having gained their attention and interest, she holds them 
throughout her entire act. Miss Lloyd is immensely pleased with the 
cordiality of her reception in America, the hearty good will that has been 
extended to her during her stay in our midst and a very probable thing 
is that she will henceforth divide her time equally between this country and 
England, for which arrangement we may consider ourselves lucky, as the 
Britons have given her a generous place in their hearts and are prone to 
resent any long absence upon her part. Though comparatively a stranger 
to us only a short time ago, Rosie Lloyd is now one of the particular pets 
of the American vaudeville world, an enviable position that she has won 
solely by her merits alone. 






June 6 Beulah Poynter 

D EULAH POYNTER, a clever and magnetic actress, full of the enthusiasm 
and ambition of youth, has met with uncommonly sudden recognition, none 
the less deserved, however, and she is well started upon a career that should 
bring forth most brilliant results. A Missouri girl by birth, Miss Poynter, 
after completing her studies, decided to make the drama her life work and 
spent her novitiate days with a Denver stock company. The sound training 

and solid experience that one gains 
in an organization of this sort 
proved of inestimable value, af¬ 
fording her a most admirable 
groundwork, and it was not long 
before she determined to give her 
powers the best sort of opportunity. 
With this end in view, Miss Poyn¬ 
ter, who is an omnivorous reader 
and student, made a dramatization 
of Mary Holmes’ novel, “ Lena 
Rivers,” and starred at the head of 
her own company, a position that 
she has held with dignity and the 
proper appreciation for the past two 
years. As an acknowledgment of 
her powers, both as actress and play¬ 
wright, one has but to quote a well- 
known critic who said: “ Beulah 

Poynter interpreted the admirable 
little heroine and recalled to older 
theatregoers, who saw her, pleasant 
memories of Maggie Mitchell and Fanchon. Her figure is slight, her 
manner is elfish before she develops the character into its larger woman¬ 
liness, her hair is of the texture and shade of cornsilk, her voice is ap¬ 
pealing and her style of elocution is unconventional. She moves through 
the play without lapsing into dullness and creates and holds the popular 
sympathy. She has made intelligent use of the salient incidents of Mrs. 
Holmes’s romance, skillfully adjusted the widely contrasting relations of the 
dominant persons of the group and so arranged the action that the play 
moves with reassuring celerity.” In addition to “ Lena Rivers,” Miss Poyn¬ 
ter frequently gives, special performances of Ibsen’s “A Doll’s House,” being 
an ardent devotee of the Norwegian dramatist, and she is said to bring many 
new lights and intelligent readings to the role of Nora, one of her favorite 
parts. In further proof of her abilities as a playwright, Miss Poynter has 
made a dramatization of the novel, “ Molly Bawn,” which is to be elaborately 
put on a short time hence, while her own new vehicle is an entirely original 
piece entitled, “June,” of which she is also the author. An exceptionally 
talented woman is Beulah Poynter, one with an infinite capacity for ac¬ 
complishing the big things, and she stands almost alone in the stage world 
as a star who writes and produces all her own plays. Far from being 
satisfied with what she has accomplished, her generous mental outlook 
demands a far bigger field and she will unquestionably know even greater 
success as she advances along her professional pathway. 



136 




June 7 William Wadsworth 

"V^VILLIAM WADSWORTH, in a modest and unassuming fashion, has 
** contributed several cameo-like bits of acting to the New York stage, 
bringing into bold relief small parts which would have passed unnoticed 
in less capable hands. He has been decidedly fortunate during his stage 
career in being constantly employed each season, a feat of which very few 
actors can boast, by the way, and he has always been associated with the 
best class of attractions. Mr. Wadsworth is a Bostonian by birth, though he 
lived for a long time in Topeka, Kan., and he has been an actor for about 
a dozen years in all, one of his first engagements being in the support of 
Clement Bainbridge in “ Alabama,” the season of 1896-97. The next year he 
became a member of Daniel Frohman’s forces, being allotted a place in the cast 
of “ The Prisoner of Zenda,” and for four consecutive seasons he appeared 
on tour in this piece. He was next seen, the season of 1901-02, with 
Munro and Sage’s company in the joint productions of “ The Prisoner of 
Zenda ” and “ Rupert of Hentzau.” In the spring of 1902, Mr. Wadsworth 
joined the Denver Theatre Stock Company, in the city of that name, and 
became so enamored with this style of work that he appeared in similar 
organizations all of the year following: such as, the Boyle Stock, -Nashville, 
Tenn.; the Powers Theatre Stock, Grand Rapids, Mich.; and the Woodward 
Stock, Kansas City, Mo. The season of 1903-04, he became a member of 
Blanche Walsh’s company, and has continued uninterruptedly in the support 
of this actress ever since, his roles in her repertoire being: the Merchant in 
“ Resurrection,” Walters in “ The Woman in the Case,” Abraham Fried- 
lander in “ The Kreutzer Sonata ” and the Butler in “ The Straight Road,” 
doing a most admirable bit of comedy acting in this last mentioned part. 
Though his career has been free from any monumental achievements, Mr. 
Wadsworth has always given a good account of himself, no matter how 
meagre his opportunities, and more than this no one can ask, for it is only 
the clever actor who can hold his own with small chances. 



O summer day beside the joyous sea! 

G summer day so wonderful and white! 

So full of gladness and so full of pain! 

Forever and forever shalt thou be 
To some the gravestone of a dead delight, 

To some the landmark of a new domain. 

—Longfellow’s “ A Summer Day by the Sea.” 


1.37 


Helen Whitman 


June 8 

H ELEN WHITMAN is rapidly coming to the front as one of the clever¬ 
est and most conscientious of the younger generation of players, and 
she is winning a foremost place for herself by her work in character 
and straight society parts. She is an earnest, painstaking actress, thor¬ 
oughly sincere in everything she does, and her professional outlook is of 
the brightest. After taking a course of study under Franklin H. Sargent, 

Miss Whitman made her stage debut the season 
of 1902-03 under the management of Edward L. 
Bloom, supporting Alma Chester, the well-known 
repertoire star. The season following she divided 
between Kathryn Kidder in “ Lady Calmore s 
Flirtations ” and with Dan Sully, with whom she 
was most successful as Mrs. Agnes Stockbridge, 
a dashing young widow, in “ The Chief Justice.” 
The next two years Miss Whitman devoted her¬ 
self exclusively to the stock company field, be¬ 
ing ambitious to gain the advantage of playing 
a large variety of roles within as short a possi¬ 
ble time, and many, indeed, were the successes 
that she knew with such organizations as the 
Proctor, Yorkville and Jessie Bonstelle com¬ 
panies. Then came a year in the .support of 
Dustin Farnum, scoring a decided success in the 
role of Mrs. Henry in “ The Virginian.” The 
season of 1907-08, Miss Whitman came in for 
any amount of spirited public approval by her 
excellent portrayal of Ann Berry in “ Shore 
Acres,” in the special revival of this piece in 
which the Shuberts starred Digby Bell. From 
all of which it can be seen that this delightful 
actress, whose special forte, by the bye, is high- 
comedy roles, has certainly had more than the average degree of success 
during the six years she has been behind the footlights. But, at the same 
time, it must be borne in mind that Helen Whitman is possessed with talents 
and ambition, added to a most gracious, womanly personality, far above the 
average, and these are the factors that help considerably in a player’s ad¬ 
vancement. That Miss Whitman will continue to go ahead, there is no 
doubt whatsoever in the minds of those who know and appreciate good 
acting, such as exemplified in her. 



# # * 4 ® 


Beauty itself doth of itself persuade 
The eyes of men without an orator; 

What needth, then, apologies be made 
To set forth that which is so singular? 

—Shakespeare. 


138 




June 9 


Weedon Grossmith 


\ 7 ASTLY popular in his native England and very well liked upon this 
v side of the Atlantic, Weedon Grossmith is an oddly humorous comedian, 
with a particular brand of fun-making all his own, and it is an easy 
thing to understand his following and popularity as an actor. A native 
Londoner. Mr. Grossmith is a son of George Grossmith, the elder, a brother 
of George II., and uncle to George, Jr., and Lawrence Grossmith. Originally 
intended for a portrait-painter, he upset the family plans by his resolve to 
follow a stage career. He made his debut in 1885 as a member of Rosina 
Vokes’ company, coming directly to America with her, appearing at the 
Standard Theatre in “ A Pantomime Rehearsal.” On his return to Eng¬ 
land, Mr. Grossmith made a rapid ascent up the stage ladder, scoring 
especially with Henry Irving in “ Robert Macaire,” Richard Mansfield in 
“ Prince Karl,” Beerbohm Tree in “ Wealth ” and at the Court Theatre 
in “ Aunt Jack,” “ The Cabinet Minister ” and “ The Volcano.” Mr. 
Grossmith became a star in 1891, presenting “ A Commission ” and “ A 
Pantomime Rehearsal,” and he has floated upon the high wave of popular 
approval ever since, a few of his biggest successes being: “ The New Boy,” 
“ The Strange Adventures of Miss Brown,” “ The Prodigal Father,” “ Miss 
Francis of Yale ” and “ The Night of the Party.” He made an American 
tour in this last mentioned play, during the season of 1902-03, but the piece 
was too, too English to meet with favor here. Since then Mr. Grossmith’s 
chief successes in London have been in “ The Noble Lord ” and “ The Duke 
of Killicrankie,” both at the Criterion; in “ The Lady of Leeds,” at the 
New; “The Duffer,” at the Comedy; and at the Haymarket in revivals of 
“ The Man from Blankley’s ” and “ Lady Huntworth’s Experiment.” In 
August, 1907, Mr. Grossmith replaced Charles Hawtrey in the cast of “ Mrs. 
Ponderbury’s Past,” at the Vaudeville, after which he produced a new piece 
entitled “ Billy Rotterford’s Descent.” 


5T & St 




10 


A N exceptionally clever and versatile young fellow is Billee Taylor, 
possessing talents as an actor and quite decided talents as a musician 
and composer. He has been before the public for the past twelve 
years, and, having gained rather a wide variety of experience, he is well 
fitted for the field of vaudeville and musical comedy, to which he now devotes 
his energies. Mr. Taylor was born in Detroit, Mich., and he was still 
a boy in his teens when he started out in life as a performer on the calliope 
with the John Robinson Circus, this in 1896. Two years later he was 
playing a minor part in “ The Governors,” in the support of Ward and 
Vokes, after which he appeared in vaudeville for quite a time. He was then 
seen on tour with a stock company presenting a series of the Weber and 
Fields burlesquers: “ Pousse Cafe,” “ Hurly Burly,” “ Fiddle-Dee-Dee,” etc.— 
in each of which he played the roles originated in New York by Charles 
J. Ross. Mr. Taylor made his Broadway debut the season of 1903-04, 
appearing in two important productions, as Lieutenant Edgar Jefferson in 
“ The Jersey Lily,” at the Victoria, and as Tommy Dodd in “ The Man from 
China,” at the Majestic. He was then seen on tour as Roy Preston in 
“ The' Southerners,” and for quite a time played Macon Spayce in “Coming 
Thro’ the Rye.” The season of 1907-08, Mr. Taylor was seen in vaudeville, 
acting as musical conductor and vocal assistant to Stella Mayhew. He 
has written and composed any number of sketches and songs, being quite a 
gifted musician, and has met with considerable favor in this direction. 


139 


Ernest Leicester 


June 11 

C 1 RNEST LEICESTER is well remembered in this country as being the 
J first actor to play Don Jose to the Carmen of Olga Nethersole, cer¬ 
tainly a distinction in itself. He was her leading man during her second 
American tour, the season of 1895-96, and left a most excellent impression 
behind him by his work in “ Denise,” “ Camille,” “ Frou Frou,” “ Romeo 
and Juliet,” etc. But he has never ventured another appearance in this coun¬ 
try. Mr. Leicester began his stage career in 1881 in “ Money,” and his first 
ten years behind the footlights were devoted to touring companies in 
“ Called Back,” “ Dark Days,” “ The Silver King,” “ Harbour Lights,” 
“ Chispa,”. “ Booties’ Baby” and “Hands Across the Sea.” From 1891 
to 1894, Mr. Leicester played leads at the London Surrey Theatre, after 
which he appeared at the Adelphi in “ The Two Orphans ” and at Terry’s 
in “ The Prude’s Progress.” Then came his visit to this country with 
Miss Nethersole, and for a long time after his return to England he was 
identified with a number of big melodramatic productions: “ I11 Sight of 
St. Paul’s,” “ The Two Little Vagabonds,” “ Tommy Atkins,” “ Going the 
Pace,” “ The Better Life ” and “ The Fighting Fifth.” In 1901, he appeared 
with Fanny Brough in “ Masks and Faces,” then toured in “ The Rake’s 
Wife,” and for a protracted period appeared in the support of George 
Alexander, playing in “ Old Heidelberg,” “ If I were King ” and “ Love’s 
Carnival.” Mr. Leicester then toured the provinces as Tom Logan in 
“ Human Hearts,” later appearing at the London Lyric in the title role in 
“ The Sin of William Jackson.” For the past year he has been starring in 
a repertoire of plays in Australia. 



June 1 2 Julia Neilson 

J ULIA NEILSON is one of the most popular and famed of London’s 
actresses, and we in America have most pleasant recollections of her 
during her single season in this country. Miss Neilson can scarcely com¬ 
plain of any great hardships in her theatrical career, as everything has been 
easy'sailing with her from the very beginning. Born in London and educated 
principally at Wiesbaden, Germany, she made her debut in 1888, playing 
Cynisca in “ Pygmalion and Galatea,” at the London Lyceum, supporting 
Mary Anderson. The five years following this Miss Neilson appeared in 
the support of Beerbohm Tree, scoring notably in “ The Dancing Girl,” 
“Peril” and “A Woman of No Importance.” She was then seen at the 
Adelphi in “ Shall We Forgive Her?” and with Lewis Waller in “ An Ideal 
Husband ” and “ The Home Secretary.” Miss Neilson was leading woman 
with John Hare upon his first American tour, the season of 1895-96, doing 
notably fine work in the title role in “ The Notorious Mrs. Ebbsmith.” 
Upon her return to England she became leading woman with George Alex¬ 
ander, a position she held two years, during which time she was seen in 
“The Prisoner of Zenda,” “As You Like It” (Rosalind being her favorite 
part), “The Princess and the Butterfly,” “The Tree of Knowledge” 
and “ The Conquerors.” She then returned to Beerbohm Tree’s support for 
a brief time, appearing in “ King John ” and “ A Midsummer Night’s Dream.” 
In 1900, Miss Neilson and her husband, Fred Terry, entered upon a joint 
stellar career, in which they have continued successfully ever since, having 
presented the following plays in London: “ Sweet Nell of Old Drury,” 
“ For Sword or Song,” “ Sunday,” “ The Scarlet Pimpernel,” “ Dorothy o’ 
the Hall ” and “ The Popinjay.” It is not wholly an improbability that the 
Terry-Neilson combination may invade the American stage within a season 
or two. 


June 1 3 W. Louis Bradfield 

A RIGHT merry operatic jester is W. Louis Bradfield, and the London 
** public is so enamored of his comicalities that he is never allowed to 
stay very far from the British capital. But we Lave had him in America 
upon two different occasions, and found him greatly to *our liking, too, 
though he has become such a permanent London fixture since then that 
there is apparently little or no chance of his ever invading our territory 
again. Mr. Bradfield, a Londoner by birth, made his stage debut in 1889 
at the Theatre Royal, in Nottingham, playing in pantomime. He toured 
through the provinces for three years in various operatic companies, first 
becoming a London favorite in 1893, appearing at the Gaiety in “ The Gaiety 
Girl ” and “ In Town.” It was in these same pieces that Mr. Bradfield played 
in America, appearing at Daly’s in 1894 in the first mentioned and at the 
Knickerbocker three years later in the latter. Afterward Mr. Bradfield toured 
successfully in Australia, and, as a proof of his high standing as an operatic 
comedian in London, he has since appeared as principal fun-maker in the 
following productions: “An Artist’s Model,” “The Circus Girl,” “The 
Geisha." “ My Girl,” “ The Runaway Girl,” “ San Toy,” “ Florodora,” 
“The Silver Slipper,” “What Would a Gentleman Do?” “The Girl from 
Kay’s,” “ Madame Sherry,” “ The Cingalee,” “ The Little Michus,” “ Les 
Merveilleuses,” “ The Girls of Gottenberg ” and in April, 1908, in “ Butter¬ 
flies.” A most excellent list of musical plays this, and from the longevity 
of all them one might be almost tempted to call Mr. Bradfield a mascot 
comedian. 


June 14 Nettie Black 

A CLEVER and talented actress is Nettie Black, and she has gained a 
thoroughly good stage training in both dramatic and operatic com¬ 
panies, her versatility, indeed, being far out of the ordinary. She 
fits from one style of entertainment to another, always doing good work, 
too, with an easy abandon that must be disconcerting to her less talented and 
less versatile professional sisters. Miss Black’s career, naturally, has been 
an exceptionally active one, and her services are pretty much in demand all 
the time. Many of our theatregoers will doubtless recall her work at the 
Casino a number of years ago when she sang with Marie Halton in “ La 
Fille de Mme. Angot,” Lillian Russell in “ The Grand Duchess ” and Pauline 
L’Allemand in “Indigo.” In more recent times, Miss Black has figured 
conspicuously with such stars and productions as: Donnelly and Girard in, 
“ The Geezer,” Marie Dressier in “ Miss Printt,” Josephine Hall in “ My 
Antoinette,” in the La Salle Theatre, Chicago, productions of “ The Isle 
of Spice ” and “ The Belle of Newport,” in “ Louisiana,” the big spectacle 
at the St. Louis Exposition; and as leading woman in “Tom, Dick and 
Harry ”—all this in the line of musical comedy, while in more serious dra¬ 
matic productions she has appeared with Kathryn Kidder in “ An Eye for 
an Eye,” with Florence Davis in the original production of “ The Player 
Maid ” and, the season of 1907-08, she played Mrs. Dan De Mille in the 
Western company of “ Brewster’s Millions.” Miss Black displays a genu¬ 
inely wholesome and altogether likable personality behind the footlights; 
she always appears to be in sympathy with her roles, striving to get the 
best possible results from them, and one can readily understand why her 
services are so much in demand. 


141 


Sol Smith Russell 


June 15 


COL SMITH RUSSELL has left behind him a large circle of admirers, all 
^ of whom mourn his passing as a distinct loss to American theatricals, 
and though many actors have since come forward, announcing themselves 
as his legitimate successor, his place in our hearts and on our stage is still 
vacant, and is likely to remain so for some time to come. Actors of the 
fine qualities of Sol Smith Russell are not to be found every day, more’s 
the pity, and we can only wait patiently in the hope that the days of 
to-morrow will bring forth a player who will display the same talents that 
charmed us for so loiig in this actor. There was a quaint, simple and lovable 
strain about Mr. Russell’s acting that made an irresistible appeal and was 
strangely characteristic of the man. He was particularly popular with 
playgoers of the South and West, and while he had a loyal following in New 
York, too, his appearances in the metropolis were rather infrequent. Mr. 
Russell had rather a strenuous boyhood, full of more downs than ups, 
and his early days as an actor were full of trying vicissitudes. He played 
in many of the old-time stock companies for some years, including several 
seasons under Augustin Daly’s management. Mr. Russell started out as a 
star in 1880, and for just twenty years he was seen at the head of his own 
company, producing many comedies, of both the old and new school. His 
greatest successes in a stellar capacity were: “ Edgewood Folks,” “A Poor 
Relation,” “ Peaceful Valley ” and “ A Bachelor’s Romance.” Among others 
of his starring vehicles were: “ Felix McKusick,” “ Pa,” “ Bewitched,” “ The 
Tale of a Coat,” “ April Weather,” “ An Everyday Man,” “ Uncle Dick ” and 
“The Hon. John Grigsby,” as well as Bob Acres in “The Rivals” and Dr. 
Pangloss in “ The Heir-at-Law.” He was an inimitable comedian, full of 
quaint, original touches, and it was a regrettable day in American theatricals 
that saw his passing. 




From brightening fields of ether fair-disclosed, 

Child of the Sun, refulgent summer comes, 

In pride of youth, and felt through Nature’s depth; 
He comes, attended by the sultry Hours, 

And ever fanning breezes on his way. 


—Thomson’s “ Summer.” 




June 16 Chrystal Herne 

C HRYSTAL HERNE, than whom no actress on the boards to-day has a 
more promising future, has certainly made a notable professional record 
during the last few years, and, to all appearances, there are no dramatic 
heights to which she may not aspire. A member of a notable theatrical 
family, the daughter of James A. and Katherine (Corcoran) Herne and 
sister to Julie Herne, she was born in Boston, Mass., and began her stage 
career on January 16, 1899, in 

Washington, D. C., playing with her 
father in “ The Rev. Griffith Daven¬ 
port.” She remained in his support 
the two seasons following this, as 
Jane Caldwell in “ Sag Harbor,” 
and, after Mr. Herne’s death, con¬ 
tinued a third year in this play. In 
the spring of 1902, Miss Herne was 
seen in Chicago as Helen Berry in 
“ Shore Acres,” and the next sea¬ 
son appeared with E. H. Sothern in 
“If I were King” and “Hamlet,” 
followed by a brief term as Dearest 
in “ Little Lord Fauntleroy,” at the 
Casino. The season of 1903-04, she 
was first in “ Shore Acres,” then 
played Hippolyta in “ A Midsum¬ 
mer Night’s Dream,” supporting 
Nat C. Goodwin, was next with 
Arthur Byron in “Major Andre” 
and then returned to Mr. Goodwin’s 
support as leading woman in “ My Wife’s Husbands ” and “ A Gilded 
Fool.” The following season she was first in “ Home Folks,” at the 
New York Theatre, and then made a huge success in the special mati¬ 
nees of “ Richter’s Wife,” written by her sister, Julie Herne. It was after 
this that Miss Herne joined the forces of Arnold Daly, opening in the fall 
of 1905, and she continued in his support a year, aside from a brief time, 
early in 1906, when she journeyed to London and appeared with H. B. 
Irving in “ The Jury of Fate.” While in Mr. Daly’s support she played 
the title role in “ Candida,” the Lady in “ The Man of Destiny,” Gloria in 
“You Never Can Tell,” Vivie Warren in “Mrs. Warren’s Profession,” 
Nora in “ John Bull’s Other Island ” and Raina in “ Arms and the Man ”— 
this being the largest repertoire of Bernard Shaw heroines ever played by 
an American actress. Late in 1906, Miss Herne was leading woman of the 
New Theatre, in Chicago, playing in a series of modern dramas by such 
writers as Hauptmann, Fulda, Sardou, Pinero, etc. She was then seen 
at the Astor Theatre as the heroine in “ Genesee of the Hills.” The season 
of 1907-08, Miss Herne was at the head of the cast in “ The Step-sister,” at 
the Garrick, later re-joining Arnold Daly’s company to play the lead in “ The 
Regeneration.” She is an actress of rare delicacy and feeling, being tem¬ 
peramentally responsive to all that is highest and best in her profession, 
with a wealth of force and determinate ambition, and her future outlook 
is of the very brightest. Blessed with youth and a personality of exceptional 
charm, and thoroughly skilled in her art, certainly Chrystal Herne has all 
in her favor to aid in her artistic career. 



143 




June 16 Vera Michelena 

A PARTICULARLY charming figure in the light opera world is Vera 
Michelena, and her rise to fame has been as sudden as it is deserved. 
She had none of the toiling and hardships that one generally has to 
undergo in climbing the operatic ladder, for she was unusually well equipped 
with beauty of face and form and a lyric soprano voice of exceptional 
strength and power. Miss Michelena was born in New York City, and her 

musical talent was a natural heri¬ 
tage, her father being Fernando 
Michelena, the well-known teacher 
and vocal instructor, who gave her 
a complete and thorough course in 
vocal culture. Naturally this helped 
smooth her pathway considerably, 
when she sought the stage door, 
and very readily she obtained an 
engagement to play a minor part in 
“ The Princess Chic,” this during 
the season of 1902-03. Two months 
after her stage debut Miss Miche¬ 
lena was promoted to the title role 
in this same opera, this being an ex¬ 
ceptional case of sudden promotion 
for a beginner. However, she was 
quite equal to the opportunity, and 
for two years she was starred in 
“ The Princess Chic,” touring from 
the Atlantic to the Pacific. The 
season of 1904-05, Miss Michelena 
found herself again in the stellar ranks and added further to her repu¬ 
tation by her work as Zaidee in “ The Jewel of Asia,” after which 
came a season as Bonita in “ The Yankee Consul.” Then came her 
New York debut, at the Majestic Theatre, in the fall of 1906, as Princess 
Cholulu in “ The Tourists,” and after this engagement she appeared in 
Boston and Philadelphia as Ariella in “ The Snow Man.” A few successful 
weeks in vaudeville follbwed this, and the season of 1907-08 Miss Michelena 
had a most varied and interesting time of it, appearing first on tour with 
Lew Fields in “ The Girl Behind the Counter,” creating the role of Winnie 
Willoughby, later singing the leading role in “ The Girls of Holland,” at the 
Lyric Theatre, was next a most bewitching picture as Polly Rivers in 
“ Funabashi,” at the Casino, then sang the prima donna role of Princess 
Helene in “ A Waltz Dream,” finally departing to Europe to fulfill engage¬ 
ments in the leading continental music halls, unquestionably the busiest 
season of any light opera singer during this past season. Certainly few 
singers have developed as rapidly as Miss Michelena, but, on the other hand, 
few are blessed with her youth, she being one of our youngest operatic 
favorites, her vocal powers and charm of person. She has come to the 
front rapidly, but has not been thrust forward unduly, being thoroughly well 
equipped at the start, and the seasons to come will undoubtedly find her 
accruing even greater operatic glories, a natural sequence with so clever 
a young woman. 



144 




June 1 7 


Jane Oaker 


J ANE OAKER has certainly had little in her career to discourage the 
stage-struck girl, for everything has been plain sailing with her from 
the very beginning, having played only leading roles during her entire 
career. The daughter of the late Christian Peper, the famed millionaire 
tobacco manufacturer of St. Louis, in which city she was born, Miss Oaker’s 
real name is Dorothy Peper. Upon the completion of her college days, 
and wholly against the wishes of her family, she determined to follow a 
stage career, with that end in view taking a course of study at the American 
Academy of Dramatic Arts. Miss Oaker made her stage debut the season 
of 1900-01 as leading lady with Louis James and Kathryn Kidder, playing 
Hermia in “ A Midsummer Night’s Dream.” The season following she was 
seen in the support of James K. Hackett, playing Maritana in “ Don Caesar’s 
Return ” and the Princess Alicia in “ A Chance Ambassador.” After a 
season spent with the Fawcett Stock Company, Baltimore, playing a wide 
variety of roles, Miss Oaker became leading woman with Wilton Lackaye, 
a position she held three consecutive seasons, creating the role of Laura 
Dearborn in “ The Pit,” in which she was notably successful, also playing 
the title role in “ Trilby.” The summer of 1903, she headed the Jane 
Oaker Stock Company in Denver. The season of 1906-07, she divided be¬ 
tween the Hunt Stock, Chicago, and the William Farnum Stock, Buffalo. 
Miss Oaker re-appeared on Broadway in the fall of 1907, supporting George 
Fawcett in “ The Silver Girl,” after which she fulfilled stock engagements in 
Baltimore and New Orleans. 



June 18 


Thais Lawton 


r "THAIS LAWTON has made rather an enviably unique record during her 
short stage career, having played nothing but leading roles since her 
debut, and she has acquired a repertoire of parts almost appalling in 
its length, especially considering the short time in which she has gained it. 
A native of Louisville, Ky., and a devotee of the drama from earliest girl¬ 
hood, Miss Lawton, after having had a great deal of experience as an 
amateur, made her debut at New Haven, Conn., on September 25, 1900, 
playing the leading heavy role of Gladys Middleton in Liebler and Co.’s pro¬ 
duction of “ Lost River.” The next year she played Mercedes in “ Monte 
Cristo,” with James O’Neill, and then went to California to share the leading 
roles in Daniel Frawley’s Stock Company in San Francisco. Here she 
attracted the attention of Belasco and Mayer, and was engaged by that 
firm as leading lady of their Central Theatre Stock in the Golden Gate City. 
She opened at this theatre on October 13, 1902, and played there ninety-four 
consecutive weeks, during which time she essayed eighty-five different roles, 
this being almost a record for hard work, as she played the year round 
without a single week’s vacation. Without losing a night, Miss Lawton 
moved over to the ’Frisco Alcazar Theatre, opening August 1, 1904, as 
Pauline in “ The Lady of Lyons,” and played ten more parts within as many 
weeks. The season of 1904-05, she toured the Pacific Coast as leading woman 
with White Whittlesey, playing Margaret Neville in “ Heartsease,” Muriel 
Mannering in “ The Second in Command ” and Madame Alvarez in “ Sol¬ 
diers of Fortune.” The next season Miss Lawton played leads with the 
Belasco Stock, Los Angeles, coming East the following year to head the 
Castle Square Stock Company in Boston, but the season of 1907-08 she was 
back in San Francisco again, fulfilling her former position as leading lady at 
the Alcazar Theatre. 


145 


Master Gabriel 


June 19 


A NAME rather unique in stage lore and one that is thoroughly well 
known and established from one end of the United States to the other. 
Master Gabriel has made a position for himself in the theatrical firma¬ 
ment that will stand him in good stead throughout his entire public career. 
Gabriel began his stage career early in 1900 as a black-face performer in 
vaudeville, in company with Al. Lamar, each proving an admirable foil 
for the other. The diminutive comedian scored a success from the outset, 
and it was not long before his services were sought by Broadway managers. 
He first appeared in a New York production in the fall of 1901, playing' 
Monsieur Kich in Oscar Hammerstein’s production of “ Sweet Marie,” at 
the Victoria Theatre. He was next seen as Johnny Boston Beans in “ A 
Son of Rest,” supporting Nat M. Wills. It was after this that Gabriel 
scored his big triumph in the title role of “ Buster Brown,” to which his 
personality was specially well suited, he seeming to have been almost created 
to play this role, and for two seasons he delighted theatregoers, both young 
and old, in this part. He then played the title role in “ Little Jack Horner,”' 
a rather short-lived production, and since then, during the past two years,, 
he has been devoting his talents to his earlier love, the vaudeville stage, 
presenting a Buster Brown skit with considerable success. Gabriel has- 
turned his diminutive size to excellent account, accomplishing even more 
than the majority of normal-sized men, and he deserves every credit for 
the professional position he has won for himself. 






June 20 


Neville 


T TENRY NEVILLE is a sturdy member of the old guard of England's 
*■ * actors, and many, indeed, have been the successes laid to his door, not 
only in his native country, but in the United States as well. His has 
been a long and proud career, and small wonder that he is greatly beloved 
and respected by theatregoers upon two continents. Mr. Neville was born in 
Manchester, and is the twentieth child of a twentieth child. He had some 
experience as an actor during his early boyhood, but did not begin his career 
in earnest until the late fifties, appearing in provincial stock companies for 
several years. He made his London debut in i860, appearing at the Lyceum, 
in “The Irish Heiress.” Three years later he created the role of Bob 
Brierly in “ The Ticket-of-Leave Man,” scoring a tremendous success in this, 
part, having played it over two thousand times in all. He then figured in 
a number of melodramas and old comedies, such as, “ Clancarty,” “ The 
Two Orphans,” “ The School for Scandal,” “ The Rivals,” etc. He them 
produced the drama, “ Human Nature,” with great success, later touring 
America with this piece for a long time, under the title of “ The Soudan,” 
to brilliant returns. He also appeared here the season of 1895-96, upon 
the occasion of Beerbohm Tree’s first tour of this country, doing notably 
fine work as Allan Villiers in “ The Red Lamp.” Mr. Neville’s most recent 
work in London has been in the Drury Lane melodramas, “ The Price of 
Peace,” “ The Prodigal Son ” and “ The Bondman,” as Barbantio in the 
Waller-Irving star revival of “ Othello,” and as Colonel Fitzgerald in 
“ Sweet Kitty Bellairs,” at the Haymarket. He has been in active pro¬ 
fessional service for over fifty years, and has more than successfully held 
his own against the infusion of younger blood. 


146 


June 21 Henry Guy Carleton 

IIENRY GUY CARLETON has rather dropped out of the running of 
A A our present-day playwrights, and a strange thing it is, too, especially 
when one recalls his efficient prolificacy of a few years ago. He had 
more than ordinary success as a dramatist, finding a ready market for 
his plays, and an odd fact about them was that he never scored half¬ 
measures, it was either a big success or a big failure in each instance. Mr. 
Carleton was born in Fort Union. New Mexico, being a son of General 
James H. Carleton, of the United States Army. He was educated at Santa 
Clara College, California, and for a short time endeavored to follow in his 
paternal parent’s footsteps. A short time in the arrnv was enough for Mr. 
Carleton, and he became a newspaper man in New Orleans. After several 
years at this he turned his hand to playwriting, receiving encouragement 
at the outset. One of his earliest efforts was “Victor Durand,” 1884, pro¬ 
duced by Wallack’s company. Some of his other best known plays have 
been: “The Lion’s Mouth,” 1892, produced by Frederick Warde and Louis 
James; “Ye Earlie Trouble,” 1892, with a special cast headed by Joseph 
Haworth and Mary Shaw; “ A Gilded Fool,” 1892, and “ Ambition,” 1895, 
both for Nat Goodwin; “ Lem Kettle,” 1894, for Tim Murphy; “ The Butter¬ 
flies,” 1894, and “That Imprudent Young Couple.” 1895, both for John Drew; 
“ Colinette,” from the French, 1899, for Julia Marlowe; and “The Cuckoo,” 
1898, for Smythe and Rice’s comedians, which piece must not be confused 
with the play of the same name which Charles Frohman produced at Wal¬ 
lack’s in the spring of 1899. Mr. Carleton won more than passing respect 
and recognition as a playwright, and his plays had considerable influence 
upon the drama of a dozen years ago. 


June 22 Olive Oliver 

U NQUESTIONABLY one of our finest actresses and with few equals as 
a player of heavy, or adventuress roles, Olive Oliver deserves only 
superlative praise and adulation for the uniformly high standard that 
she has maintained throughout her entire stage career. One of Miss Oliver’s 
earliest successes was as Mrs. Erlynne in a road company of “ Lady Winder¬ 
mere’s Fan,” and her first big success on the New York stage was in the 
support of E. M. and Joseph Holland, the season of 1895-96, at the Garrick, 
in “ A Man with a Past ” and “ A Social Highwayman.” She continued 
in their support part of the season following, playing in “ A Social High¬ 
wayman ” and “ A Superfluous Husband,” and in the spring of 1897 she 
was seen at the Knickerbocker in Sardou’s “ Spiritisme.” The season of 
1897-98, Miss Oliver appeared in Richard Mansfield’s support in repertoire, 
was with William H. Crane the year following in “ A Virginia Courtship,” 
“ Worth a Million” and “The Head of the Family,” returning'to the 
Mansfield fold the year after that. Since that time Miss Oliver’s engage¬ 
ments have been as follows: 1900-01, with William Gillette in “Sherlock 
Holmes”; 1901-02, with Kathryn Kidder in “Molly Pitcher”; 1902-03, with 
Julia Marlowe in “ The Queen Fiametta ” and “ The Cavalier ” ; 1903-04, in 
“ Ulysses,” and re-appeared in Mr. Mansfield’s support; 1904-05, with William 
Faversham in “Letty”; 1905-06, with Ethel Barrymore in “ Sunday,” in 
“ Mizpah ” and in “ Mrs. Leffingwell’s Boots ”; 1906-07, with William H. 
Crane in “ The Price of Money,” Fay Davis in “ The House of Mirth ” 
and John Drew in “ His House in Order ”; 1907-08, with James K. Hackett 
in “ John Glayde’s Honour,” and with the Boston Theatre Stock, Boston, 
Mass. Olive Oliver may certainly pride herself upon so distinguished a 
record as this. 



147 


Doris Dean 


June 23 


F^VORIS DEAN is one of London’s most popular musical comedy favorites, 
she having been conspicuously placed in several big productions in the 
British capital, and if she continues to develop and grow as an artist, 
there is little question but that we on this side of the Atlantic will soon 
have a chance to form an estimate of her abilities. She is scarcely more 
than a youngster, still being in her ’teens, so she can afford to wait quite 
some little time before venturing into our midst, and we on our part will 
have to be patient against the day of her coming. Miss Dean is the 
daughter of a well-known English publisher, Henry Dean, and before adopt¬ 
ing the stage professionally she had a thorough course of training in various 
branches: to wit, dancing, under Madame Katti Lanner; elocution, under 
Lewis Cairns-James; and singing, under Aubrey Milward. Miss Dean scored 
her first success in London in 1905 as Columbine in one of the famous Empire 
“ Revues.” On May 5, 1906, she was seen at the Prince of Wales’ Theatre 
as Letty in “ The Girl on the Stage ” (the musical comedy formerly known 
as “The Little Cherub”), and on June 20th, of that year, she appeared at 
the same playhouse as Sea of Jade in the Chinese comic opera, “ See-See.” 
For a long time after this she was a conspicuous figure in the leading London 
music halls, winning great favor in this new field. Miss Dean has also won 
popularity in the field of pantomime, having played several important engage¬ 
ments in this line, her most recent achievement being as Cheeki in “ Aladdin,” 
at the Adelphi, at Christmas, 1907. Miss Dean appears to be too clever 
a girl to confine her talents exclusively to London, and one can only hope 
that the spirit will soon move her to invade foreign territory. 





E. Vivian 



June 


IT is hardly a likely thing that the name of E. Vivian Reynolds has any 
* very familiar sound to American theatregoers, as he is essentially an 
English actor in every sense of the word, and has appeared in our midst 
only one season, that being some time ago and in rather an inconspicuous 
way, too. He appeared at the Knickerbocker Theatre, the season of 1896-97, 
supporting John Hare, playing the roles of Hewett in “ The Hobby Horse ” 
and Dixon in “ Caste,” in neither of which did he have any particular 
opportunity to distinguish himself. Mr. Reynolds, a native Londoner by 
birth, began his stage career in 1890, his first success being won in a com¬ 
pany managed by Louis Calvert and Charles Thomas Hunt Helmsley, 
appearing for three years in a repertoire of plays by such writers as Shake¬ 
speare, Browning, Ibsen, etc. Naturally, he obtained a thoroughly good 
schooling in a company of this sort, and the study and training gained there 
have stood him in good stead ever since. He passed from this organization 
to John Hare’s company, remaining five years in the support of this actor. 
For the past six years Mr. Reynolds has been playing in London in the 
support of George Alexander exclusively, playing parts in his repertoire 
as well as acting in the capacity of stage manager at the St. James’ Theatre. 
A few of the roles that Mr. Reynolds has played with Mr. Alexander have 
been, Oliver le Dain in “ If I Were King,” Kellerman in “ Old Heidelberg,” 
Forshaw in “His House in Order” and Walters in “John Glayde’S 
Honour,” and many more besides, his favorite role of all being Kellerman. 
As Mr. Reynolds is apparently a permanent fixture at the St. James’ Theatre, 
there is little likelihood of his crossing the Atlantic, at least in a pro¬ 
fessional capacity, for some years to come. 


148 


Cecil Klein 


June 25 

/^ECIL KLEIN is another of the many American born who find a per- 
manent refuge on the English stage. He has met with more than 
average success upon John Bull’s island, so there is small likelihood 
of his ever returning to the land of his birth, at least for any protracted 
period. Mr. Klein was born in St. Paul, Minn., and was educated there and 
in London. Though he started out in life in an insurance office, he soon 
gave this up to embark upon a theatrical career, making his debut in 1896 
in “ The Battle of the Sexes,” at the Shakespeare Theatre. He then ap¬ 
peared on tour in “ The Sign of the Cross,” in “ A Royal Divorce,” in “ The 
White Heather ” and with Nina Cressy’s repertoire company. In 1901, 
Mr. Klein ventured upon a starring tour through the provinces in “ Lady 
Windermere’s Fan,” “ The Importance of Being Earnest ” and “ His Little 
Dodge.” He was next seen on tour as Allan Villiers in “ The Red Lamp ” 
and as Lewis Dumont in “ Secret Service.” After this Mr. Klein took a dip 
into the managerial end of stage affairs by acting as business manager on 
tour with “ Three Little Maids.” But he soon found himself on the 
other side of the curtain line again, playing in “ Booties’ Baby,” after which 
he played a term of nine months in stock at the Grand, Islington. He then 
joined the forces of Miss Fortescue, playing the Duke of Mull in “ Moths,” 
and his most recent work, among other plays, has been in the provinces in 
“The Sailors of the King,” “The Breed of the Treshams” and “Leah 
Kleschna.” As Mr. Klein appears to be a more than capable player of 
juvenile and light-comedy roles, let us hope that he will some day give 
theatregoers in the land where he was born a chance to judge of his acting 
abilities. 




4 ? 


June 26 Oscar Asche 

/ANE of England’s very best actors and one whose name is still well remem- 
bered in this country, even though he appeared here but three months 
in all, Oscar Asche is one of the best representatives of the Shake¬ 
spearean and romantic drama on the English-speaking stage to-day. He was 
born in Geelong, Australia, and educated at the Melbourne Grammar School. 
After studying for the stage in Norway, under Bjornson-Bjornstjerne, son 
of the famous author, Mr. Asche made his debut in 1893 with Arthur 
Dacre at the Opera Comique, London, in “ Man and Woman.” Shortly 
afterward he joined F. R. Benson’s Shakespearean company, and for 
eight consecutive years received the best possible training in this company. 
He then created the role of Maldonado in “ Iris ” at the London Garrick 
in 1901. It was this same role that introduced Mr. Asche to American play¬ 
goers, supporting Virginia Harned for a brief time at the Criterion Theatre, 
in the fall of 1902, making a tremendous impression. Since his appearance 
in this country, Mr. Asche has become one of London’s foremost actor- 
managers, appearing for a time in Beerbohm Tree’s company. As a star 
upon his own account, he has produced the following Shakespearean plays: 
“ The Taming of the Shrew,” “ A Midsummer Night’s Dream,” “ Measure 
for Measure,” “ As You Like It,” “ Othello ” and Claudius to H. B. Irving’s 
Hamlet, while in the field of romantic drama he has brought out “ The 
Prayer of the Sword,” “ Under which King,” “ Tristram and Iseult,” “ The 
Virgin Goddess,” “ Attila ” and “The Two Pins.” His wife, known 
to the stage as Lily Brayton, shares all his stellar glories with him. It is 
not a remote possibility that Mr. Asche and Miss Brayton may appear 
upon the American stage shortly. 


149 


June 27 Cecil Butler 

/ r "' , ECIL BUTLER has won a proud and distinguished name for himself, 
both as an actor and stage director, and he deserves all manner of 
praise for the dignity and professional integrity that he has upheld 
during his entire stage career. Mr. Butler was born in Hobart, Tasmania, 
Australia, but when a youngster of three his family moved to England, 
the birthplace of his paternal parent, and it was there he grew into man¬ 
hood. He made his debut as an actor in 1888 at the London Adelphi,^under 
the name of F. Cecil Bernard, playing Fathom in “ The Hunchback,” with 
Mrs. Patrick Campbell. Two years later he was seen on tour as Superin¬ 
tendent Horton in “ Dr. Bill.” Mr. Butler came to this country the season 
of 1891-92 and joined Richard Mansfield’s company to play juvenile roles, 
remaining with this actor until the spring of 1895. He then spent two years 
in the support of Robert Hilliard, acting as stage director as well, playing 
in both New York and London in “ Lost—24 Hours,” “ The Littlest Girl ” 
and “ The Mummy.” Mr. Butler returned to the Mansfield fold in 1897, 
continuing until almost the close of the season of 1903-04, not only playing 
many important parts in his repertoire, but also helped produce the colossal 
productions of “ Julius Caesar,” “ Heidelberg ” and “ Ivan the Terrible.” 
Altogether, he was a member of Mr. Mansfield’s company for eleven years, 
with one exception, this being the record for longevity in this actor’s 
support. In the spring of 1904, Mr. Butler assisted in the production of 
“ The Shepherd King,” at the Knickerbocker, acting as stage director the 
following season. He next appeared in a like capacity in “ The Clansman,” 
at the Liberty, later on playing the role of Lieutenant Forrest in this piece 
on tour. He is an exceptionally able stage director, and deserves the recog¬ 
nition that his talents have won for him. 

4 * # 

June 28 William Courtleigh 

IT was in Guelph, Ontario, Canada, that William Courtleigh came into the 
-*■ world, and he has been very much in evidence ever since. He made his 
stage debut in the late eighties in John Dillon’s company, first attracting 
notice in Fanny Davenport’s company, appearing with her in “ La Tosca,” 
“Cleopatra” and “Fedora.” He next appeared with James A. Herne in 
“ Shore Acres,” was then with Daly’s company in “ The Foresters ” and suc¬ 
ceeded Robert Hilliard in “ Blue Jeans.” Mr. Courtleigh next created the 
hero in “ In Old Kentucky,” was with M. B. Curtis in “ Sam’l of Posen ” 
and Helen Dauvray in “ That Sister of His.” He was then seen in “ The 
District Attorney ” and created the Indian hero, John Swiftwind, in 
“ Northern Lights.” After a brief term in “ A Man of Honor,” at the 
American, Mr. Courtleigh was leading man with Margaret Mather, playing 
Romeo, Orlando, Posthumus and Rudolph. He was next a member of the 
Lyceum Theatre Company for two seasons, and also played the lead in 
“ Sporting Life ” for a time. Beginning with the season of 1899-00, Mr. 
Courtleigh’s engagements have been as follows: with William H. Crane in 
“ Peter Stuyvesant ” and “ A Rich Man’s Son,” and with Henrietta Crosman 
in “ One of Our Girls ” and “ Mistress Nell ” ; 1901-02, in “ Lost River,” 
with Nat Goodwin in “ The Merchant of Venice ” and in “ Lorna Doone,” 
in Chicago; 1901-02, with Virginia Harned in “Alice of Old Vincennes”; 
1902-03, with the Empire Theatre Company in “ The Wilderness ” and “ The 
Unforeseen”; 1903-04, with Fay Davis in “Lady Rose’s Daughter,” and 
Maxine Elliott in “Her Own Way”; 1904-05, with Clara Bloodgood in 
“ The Coronet of a Duchess,” James K. Hackett in “ The Fortunes of the 
King,” Marie Doro in “ Friquet ” and William Gillette in “ Sherlock 
Holmes ”; 1905-06, with the Imperial Stock, Providence, R. I., in “ The 
Redemption of David Corson ” and “ Lucky Miss Dean ” ; 1906-07, with Marie 
Cahill in “ Marrying Mary,” and in “ Genesee of the Hills ”; and, 1907-08, 
in vaudeville, presenting a dramatic sketch entitled, “ Peaches.” A strenu¬ 
ously busy career this! 


150 


Charles Darrell 


June 29 

/CHARLES DARRELL, a well-known English writer and character actor; 
is the author of the melodrama, “ When London Sleeps,” which had a 
long and successful run in this country. It was first produced over 
here on August 31, 1896, at the Fourteenth Street Theatre, with a cast headed 
by Edwin Walter and Perdita Hudspeth, and it enjoyed an enormous vogue 
in the popular-priced houses for a number of years, being full of many 
sensationalisms. As this was a big success, a rather strange thing it is 
that we have not had other of his plays over here, the art of play writing 
being a favorite pastime of his. Mr. Darrell was born in London, and was 
educated at Esplanade House, Portsmouth. After trying his hand at com¬ 
mercial pursuits, he decided to follow the stage as a profession, making his 
debut in 1876 with Jennie Lee in her famous performance of “ Bleak House.” 
For a long time after this, nine years in all, Mr. Darrell appeared in the 
Beatrice company, later appearing in the support of such former favorites 
as T. C. King, Henry Forester, Annie Baldwin and Barry Sullivan. He 
has also played many stock engagements in the British provinces, enjoying 
special favor as an actor of character parts. In addition to “ When London 
Sleeps,” Mr. Darrell has also written the following plays: “ Defender of 
the Faith,” “ The Power and the Glory,” “ The Life of a Showman ” and 
f ‘ The Music of Life ” and he is a frequent contributor to many English 
magazines. A versatile fellow, indeed, is Mr. Darrell, and a fine thing it is 
to note his success. 


June 30 Walter Hampden 

A FTER serving a faithful apprenticeship upon the English stage, Walter 
Hampden was given a royal welcome to his native America during 
the season of 1907-08, and in the five roles that fell to his lot during 
that season he proved to be an actor of most noteworthy attainments. Mr. 
Hampden came into the world in Brooklyn, N. Y., being a son of John 
Hampden Dougherty, of political fame, and was educated at the Brooklyn 
Polytechnic Institute, later entering Harvard, with a finishing course in 
Paris. It was during his stay abroad that he determined to become an 
actor, and, instead of returning home, he made his stage debut September 
2, 1901, at Brighton, England, as a member of F. R. Benson’s Shakespearean 
company. He remained with this organization three years, playing such 
parts as the title role in “ Julius Caesar,” the Ghost in “ Hamlet ” and 
Antonio in “ The Merchant of Venice.” Mr. Hampden then invaded the 
London stage, opening in September, 1904, at the Adelphi Theatre, with 
Oscar Asche and Lilv Brayton, with whom he remained for over two years, 
appearing in “ The Prayer of the Sword,” “ The Taming of the Shrew,” 
“ Measure for Measure,” “ A Midsummer Night’s Dream,” “ The Virgin 
Goddess ” and with H. B. Irving in “ Hamlet.” He has also participated 
in a number of special London productions, such as Maeterlinck’s “ Aglavaine 
and Selysette,” at the Court, in ” The Sixth Commandment,” at Wyndham’s, 
and at the Adelphi in the melodramas of “ The Bondman ” and “ The Prodi¬ 
gal Son.” Mr. Hampden made his debut in this country in the fall of 
1907 with Madame Nazimova, appearing with her in “ The Comtesse 
Coquette,” “ The Master Builder ” and “ A Doll’s House,” was later with 
Viola Allen in “ Irene Wycherly,” and finally played the role of Manson in 
“ The Servant in the House,” at the Savoy, creating quite a sensation by 
his portrayal of this part. 


151 























• 































































MADAME JANAUSCHEK. 


Born, July 20, 1830. 


Died, November 28, 1904, 

























































- 


















































































































































July 1 Tom McNaughton 

TT'OR sheer artistic grotesquery and mirth-provoking laughter, there is no 
act upon the vaudeville stage to-day that enjoys greater public approval 
than that of the McNaughtons. These wonderfully clever English¬ 
men, with snappy, up-to-date ideas, have been taken into the heart of hearts 
of our vaudeville lovers,' and their place in our midst as refreshingly original 
entertainers, is one of undisputed eminence, and 
of enviable permanency, of which they are as¬ 
sured for all time. Tom McNaughton, the slen¬ 
derer of the two, is a natural born comedian, 
with a wealth of bubbling humor constantly at 
hand, and he gains his many laughs by strictly 
legitimate methods, infusing his own personality 
and an appreciative acknowledgment of the finer 
points of buffoonery into his laughter-gaining 
antics. Mr. McNaughton has been trained in a 
vigorous, rugged school, having passed his early 
stage career in various “ fit-up ” provincial com¬ 
panies in England. Finally he and his brother, 
the equally diverting Fred, made their debut in 
the London music halls, doing their amusing 
knockabout act, and from that time on all has 
been plain sailing for them. They have figured 
in American vaudeville for the past two years, 
their popular appeal growing with each new ap¬ 
pearance, and it is a splendid tribute to their 
talents as well as the perceptive qualities of our 
vaudeville loving public that they have been 
received with open arms here. Mr. McNaughton, 
and reference is now made to Tom of that clan, 
has been engaged by Klaw and Erlanger and F. Ziegfeld to play one of the 
principal comedy roles in their production of the George M. Cohan and 
John J. McNally piece, “ The Bonnie Belles of Scotland,’’ the season of 
1908-09, and a fine thing it will be to have him participate in an entire 
evening’s entertainment. Tom McNaughton, clever, brainy chap that he is, 
has come into his own in American theatricals, and all the many splendid 
tributes to his talents are certainly richly deserved. 





The linden, in the fervor of July 
Hums with a louder concert. When the wind 
Sweeps the broad forest in its summer prime 
As when some master hand exulting sweeps 
The keys of some great organ, ye give forth 
The music of the woodland depths; a hymn 
Of gladness and of thanks. 

—Bryant’s “ Among the Trees.” 




July 3 Mary Moore 

IV/IARY MOORE, although not a great actress, is certainly a most charm- 
ing one, and she plays comedy roles with true artistic perception and a 
fine degree of appreciation of comedy values. She has had the advan¬ 
tage of constant association with so fine an actor as Sir Charles Wyndham, 
and doubtless she owes much of her histrionic skill to his excellent direction 
and training. There are few more popular London actresses than she, and 
during her long service in the British drama she has contributed many fine 
pieces of acting to the English stage. Miss Moore was born in London, 
and was educated at Warwick Hall, Maida Vale. Upon the advice of Mrs. 
Bronson Howard, a sister of Sir Charles Wyndham, she decided to follow a 
stage career, making her debut in March, 1885, in a provincial production 
of “ The Candidate,” managed by Sir Charles. The autumn of that same 
year she became a member of Sir Charles’ own company in London, soon 
becoming his leading woman, and she has continued to appear exclusively 
in his support ever since, a few of her most successful roles being: Lady 
Amaranth in “ Wild Oats,” Ada Ingot in “ David Garrick,” Lottie in “ The 
Two Roses,” Grace Harkaway in “ London Assurance,” Mrs. Hedley in 
“ The Headless Man,” Pauline in “ Delicate Ground,” Dorothy Cruickshank 
in “ Rosemary,” Lady Susan in “ The Case of Rebellious Susan,” Lady 
Jessica in “ The Liars,” Mrs. Parbury in “ The Tyranny of Tears,” Lady 
Eastney in “ Mrs. Dane’s Defense,” Mrs. Gorringe in “ Mrs. Gorringe’s Neck¬ 
lace,” Miss Mills in “ Captain Drew on Leave ” and Mrs. Baxter in “ The 
Mollusc.” Miss Moore first appeared in America with Wyndham the season 
of 1889-90, at Palmer’s, and again during 1904-05, at the Lyceum. She has 
also appeared with him in a professional capacity in Germany and Russia; 
and, too, she is partner with him in the proprietorship of three London 
playhouses—the Criterion, Wyndham’s and the New. 


July 4 Sophie Brandt 

A NEW Broadway prima donna is always interesting, and when she 
combines the qualities of youth and a beautiful soprano voice the interest 
is doubly acute, so that Sophie Brandt has proven to New York theatre¬ 
goers to be a most interesting and refreshing newcomer. Though a new 
face on Broadway, Miss Brandt has spent three years in faithful appren¬ 
ticeship in the outlying districts, even including a London engagement, 
and all the more credit to her that she has waited patiently for her oppor¬ 
tunity. A native of St. Louis, Mo., Miss Brandt received her professional 
start from Frank L. Perley, who engaged her to create the role of Nanetta 
in “A Venetian Romance,” in the spring of 1904. But the role afforded 
her so little opportunity that she soon withdrew from the cast and went 
to London to see what opportunities the British capital offered her. Upon 
her arrival on the other side, she was engaged by Henry W. Savage to play 
the part of Mrs. Crocker, the widow, in “ The Prince of Pilsen,” at the 
Shaftesbury Theatre. She returned to America, and appeared on tour the 
season 1904-05 in the title role in “ The Princess Chic,” following which she 
starred at the head of her own company, stepping into Lulu Glaser’s shoes 
as the star of “ A Madcap Princess.” It was after this that Broadway became 
acquainted with Miss Brandit, singing the role of Franzi Steingruber in “ A 
Waltz Dream ” at the Broadway, winning special praise in this part, early 
in 1908, and afterward she was seen as Marie Dubois in “ The Gay Musician,” 
at Wallack’s. Evidently Miss Brandt has come to Broadway to stay, 
and we are glad to have her, too. 


156 


July 5 


A. W. Baskcomb 


DRACTICALLY all of England’s leading actors reach our shores sooner 
or later, usually sooner, so we might just as well be on the lookout for 
A. W. Baskcomb, a young Englishman who is rapidly making a name 
for himself in British theatricals. Born in London and prepared for the 
stage at the Sarah Thorne School, Mr. Baskcomb began his stage career 
in 1896, appearing at Margate in “ The Octoroon.” Shortly afterward he 
appeared with Edward Terry at his London theatre, and for several years 
after this he was identified with leading provincial companies: such as, 
“ The Tyranny of Tears,” “ Mrs. Dane’s Defense,” 114 The Adventure of Lady 
Ursula,” “ The Swashbuckler ” and “ The Little Minister.” Mr. Baskcomb 
re-joined Mr. Terry’s forces in 1903, accompanying him to South Africa 
for a six months’ tour, returning to England for provincial tours in both 
44 Quality Street” and 44 Little Mary.” He appeared at the Duke of York’s 
Theatre in December, 1904, as the Clown in 44 Pantaloon ” and created the 
role of Slightly in 44 Peter Pan.” Upon each of the three subsequent revivals, 
around holiday time, of 44 Peter Pan,” Mr. Baskcomb has re-appeared in his 
original role. He has also appeared in 44 Merely Mary Ann,” with Lena 
Ashwell in 44 Leah Kleschna ” and Ellen Terry in 44 Alice Sit-by-the-Fire.” 
In September, 1907, Mr. Baskcomb took a dip into musical comedy, appear¬ 
ing at the Aldwych Theatre as Edmund Siddons in 44 The Gay Gordons,” 
supporting Seymour Hicks and Ellaline Terriss. He is quite a young 
actor, only in his middle twenties, and, with all this excellent experience 
as a groundwork, his future certainly seems an assuredly bright one. 





Annabelle Whitford 


A NNABELLE WHITFORD is a decidedly prominent figure in the musi- 
cal comedy world, and upon the strength of a beautiful face and figure 
and an interesting personality, she has achieved no small degree of 
success behind the footlights. She has been before the public a trifle over 
ten years in all, during which time she has made constant progression in 
her work. It was as a fire dancer, using stereopticon effects, that Miss Whit¬ 
ford first attracted notice in the stage world, appearing in vaudeville, being 
billed simple as 44 Annabelle.” She then made her debut in musical comedy, 
in the summer of 1899, playing Maudie Mince in 44 The Maid in the Moon,” 
on Koster and Bial’s Roof Garden, being billed upon this occasion as 
Annabelle Moore. The season of 1899-00, she was seen in the support of 
Olga Nethersole, with whom she remained two years, being billed in this 
production under the cognomen she now uses, playing the part of Toto in 
44 Sapho.” The two seasons following this Miss Whitford was a member of 
the Klaw and Erlanger forces, playing Johnnie in the big spectacle, 44 The 
Sleeping Beauty and the Beast.” In the spring of 1904, she was seen at the 
Knickerbocker as Francesca in 44 A Venetian Romance,” after which she 
was leading lady with Frank Daniels, playing Lady Bickenhall in 44 Sergeant 
Brue.” The season of 1906-07, Miss Whitford appeared at Daly’s as Lady 
Violet Gussop in 44 The Belle of Mayfair,” the following season playing 
the Gibson Girl in 44 The Follies of 1907,” and the summer of 1908 she was 
seen on the New York Roof as the Nell Brinkley Girl in 44 The Follies of 
1908.” She is a clever girl, in addition to being exceptionally good looking, 
and deserves praise and credit for her professional progression. 


157 


July 7 Benjamin F. Wilson 

A YOUNG actor who by his earnestness and sincerity has won a legion 
of admirers among the theatregoers of Greater New York, Benjamin F. 
Wilson may be felicitated upon the stage honors that have come to him 
within recent seasons. He is a player of frankly engaging personality, one 
whose best qualities are to the fore in wholesome juvenile roles, in which 
line he particularly excels, and his vogue is easily to be understood when 

one considers his mastery of the technique of 
acting. He has long been a faithful and diligent 
student of his profession, entering into it from 
the very first with enthusiasm and zest, and there 
are few players before the public to-day who have 
been any more loyal in their work or more am¬ 
bitious for their future. A native of Centerville, 
Iowa, and a graduate of the public schools there, 
Mr. Wilson, after a short apprenticeship in a 
Western repertoire organization, joined the 
Spooner Stock Company, with which he has 
remained for the past ten years, playing in Brook¬ 
lyn and New York. His repertoire has now be¬ 
come a prodigious one, embracing as it does 
over four hundred important parts, and the 
experience gained by his varied characterizations 
will prove of the greatest help as he grows in 
professional caste. Selecting from his repertoire 
at random, a few of Mr. Wilson’s most success¬ 
ful parts have been: Sir George Sylvester in 
“ The Adventure of Lady Ursula,” E. H. Soth- 

ern’s original role; Edward Falkner in “ The 

Liars,” Steven Carley in “ Her Own Way,” Jack 
Hart in “ Mistress Nell,” Lionel Carteret in 
“ Mrs. Dane’s Defense,” Jose in “ The Pretty 
Sister of Jose,” Haran in “ Mary of Magdala,” Cassius in “ Othello,” 
Kleschna in “ Leah Kleschna ” and Paul Charteris in “ Hearts Aflame,” 
which last he assumed at short notice. The summers of 1904 and 1905 

respectively, he was leading man of the Berger Stock Company in Wash¬ 

ington, D. C., and Harrisburg, Pa. He brings vital characterization to each 
of his parts, be they ever so different, and the Spooner patrons long ago 
learned that he is always to be relied upon for a faithful and sincere inter¬ 
pretation of his roles. Mr. Wilson is frequently in receipt of offers to 
embark upon new and somewhat less restricted theatrical ventures, man¬ 
agers having long ago recognized his worth, but for the present he will 
continue in the support of Edna May Spooner, maintaining his usual digni¬ 
fied standard. 



Loud is summer’s busy song. 

The smallest breeze can find a tongue, 
While insects of each tiny size 
Grow teasing with their melodies; 

Till noon burns with its blasting breath 
Around, and day lies still as death. 

—Clare’s "July.” 


158 




July 8 


William Vaughn Moody 


' I ’HE name of William Vaughn Moody sprang into the arena of popular 
* dramatists with a resounding echo during the season of 1906-07, and 
if he never has but the one play, “ The Great Divide,” produced, which 
is, of course, highly improbable, it is worth while to proclaim him among 
the elect for just this one effort. Many of our most competent critics sang 
peans of praise as tribute to “ The Great Divide,” hailing it as the great 
American play at last, but even after the first hysterical outburst had passed, 
it remained the sensational play of the season, the one most talked about. 
Mr. Moody was born at Spencer, Ind., a son of Francis Burdette and 
Henrietta Smily (Story) Moody, and is a graduate of Harvard. As pro¬ 
fessor of English literature at the University of Chicago, he was not wholly 
unknown to fame, but it was through his book of poems, published some 
five or six years ago, that the general public learned to know and love his 
style. Hence, upon the appearance of “ The Great Divide,” in many ways 
it fulfilled the expectations of those who looked to him to write a dramatic 
masterpiece. Henry Miller and Margaret Anglin bore the play on to 
triumphant success, and it ran at the Princess Theatre for two hundred 
and thirty-four consecutive performances. Mr. Moody has written a lyrical 
drama, “ The Masque of Judgment,” which has yet to have a footlight 
hearing. Any further dramatic output from his pen will be watched with 
eager attention, for no matter what the reception, it is bound to possess 
two virtues, literary merit and originality—qualities that all too few plays 
possess nowadays. Mr. Miller has announced his intention of bringing out 
a new play by Mr. Moody some time within the next year, and its appear¬ 
ance will be awaited with great interest. 



X 


All-conquering heat, O, intermit thy wrath! 
And on my throbbing temples, potent thus. 
Beam not so fierce! incessant still you flow, 
And still another fervent flood succeeds, 
Pour’d on the head profuse. In vain I sigh. 
And restless turn, and look around for night; 
Night is far off, and hotter hours approach. 


—Thomson’s “ Summer.” 


159 


July 9 Maclyn Arbuckle 

A N actor of sure, sound method, one whose artistic record is of the 
best, Maclyn Arbuckle has come to be an admitted leader among the 
present generation of comedy character actors—which, in this instance, 
is merely another way of saying that he stands unique and alone in his 
own particular line. Mr. Arbuckle is a native of Texas, born in San 
Antonio, and, in his very early youth, followed the career of a lawyer, being 

admitted to the bar at Texarkana. 
A few years at this profession and 
he determined to turn his talents to 
the somewhat broader field of the 
stage, making his debut December 
25, 1888, at Shreveport, La., with 
Pete Baker in “ The Emigrant.” He 
soon gave up these surroundings for 
the more classical atmosphere to be 
found in the company of R. D. Mac- 
Lean and Marie Prescott, with 
whom he remained three consecutive 
seasons. He then' spent several 
years under the management of 
Charles Frohman, and many theatre¬ 
goers will recall his admirable Gen¬ 
eral Kennion in “ The Girl I Left 
Behind Me.” He then supported 
Mrs. John Drew as Sir Anthony 
Absolute in her revival of “ The 
Rivals,” after which he was on the 
Pacific coast for some time as a 
member of the Frawley company, being notably successful irj the title 
roles of both “The Senator” and “Brother John.” Returning East, 
he was seen in the role of Roderick Majors in “ The Man from Mexico,” 
the season of 1897-98, afterward appearing with Louis James as Marc 
Antony, the King in “ Hamlet,” etc., and from that time forward Mr. 
Arbuckle has been constantly growing in public favor, each season finding 
him more of a favorite than ever. For two seasons he played the role 
of John Smith in “ Why Smith Left Home,” including a most successful 
term in London. The season of 1900-01, he starred for a time in “ The 
Sprightly Romance of Marsac,” was then with Blanche Bates in the 
original production of “ Under Two Flags ” and played Antonio in Nat 
Goodwin’s star revival of “ The Merchant of Venice.” He was then leading 
man with Stuart Robson in a stellar revival of “ The Henrietta,” after¬ 
ward played Colonel Damas in the Bellew-Mannering revival of “ The 
Lady of Lyons,” and was at the Garrick Theatre in “ Skipper and Co., Wall 
Street.” Mr. Arbuckle then created the role of the lovable Jim Hackler in 
“ The County Chairman,” which part he played four consecutive seasons, 
and then came his present big success, “ Slim ” Hoover in “ The Round 
Up.” Mr. Arbuckle can step from the serious to the gay with equal facility 
—witness his Antonio and John Smith,—his powers as a versatile actor 
having stood the test upon many occasions, and for this reason alone his 
work upon the theatrical horizon will always be worth while, worthy 
every serious consideration. 



100 




July 10 Dorothy Tennant 

T'XOROTHY TENNANT has been exceptionally fortunate during her short 
stage career, having played only important roles from the beginning, 
and she has figured in a number of prominent Broadway productions. 
A native of San Francisco, Cal., Miss Tennant graduated from the American 
Academy of Dramatic Arts in the spring of 1900, making her debut on 
March 1, 1901, at a benefit for the Actors’ Fund at the Broadway Theatre, 
supporting Mary Mannering in a one-act play, “ White Roses.” A few 
months later she played the role of Mary Larkin in “ Lovers’ Lane,” in 
Chicago. The season of 1901-02, Miss Tennant played Phyllis Ericson in 
a traveling company of “ When We were Twenty-one,” the summer following 
appearing in San Francisco with Henry Miller and Margaret Anglin in 
“ Trelawny of the Wells,” “The Gay Lord Quex ” and “The Wilderness.” 
Miss Tennant was next seen in the support of Robert Edeson, with whom 
she remained a season and a half, playing Alice Langham in “ Soldiers 
of Fortune ” and Miss Post in “ Ranson’s Folly,” finishing out this half 
season with Bertha Galland as Mary Stuart in “ Dorothy Vernon of Haddon 
Hall.” She then created the title role in “ The College Widow,” in which 
part she was seen for three consecutive seasons, aside from a few weeks 
in both the spring and fall of 1906, when she played the heroine in “ The 
Stolen Story.” The season of 1907-08, Miss Tennant played the role of 
Miriam Hawthorne in “ My Wife,” in the support of John Drew, a part 
to which her attractive personality was especially well suited. 


& ** 


July 1 1 Laura Nelson Hall 


L AURA NELSON HALL’S name has taken on special significance in 
New York theatricals within the past two years, and, to all appearances, 
she has permanently entered the ranks of Broadway leading women. A 
Philadelphia girl by birth, her family name being Barnhurst, Miss Hall 
made her stage, debut September 13, 1897, in her native city as a member of the 
Girard Avenue Stock Company, opening in “ Our Friends.” The following 
spring she played a minor bit in the original production of “ The Moth and 
the Flame,” supporting Herbert Kelcey and Effie Shannon, and the next 
season she appeared under Augustin Daly’s management, playing a small 
part in the melodramatic success, “ The Great Ruby.” Miss Hall then 
joined John Griffith in “An Enemy to the King,” later appearing on tour in 
“ The Purple Lady.” The season of 190-0-01, she played leads with the 
Ralph Cummings Stock on the Pacific Coast, and the next year was with 
the stock at the Grand Opera House, San Francisco, supporting such stars 
as Joseph Haworth, Edwin Arden, Walter Perkins and Minnie Seligman. 
Returning East, Miss Hall appeared for a brief time in Paul Armstrong’s 
emotional drama, “ St. Ann,” and then played a long engagement with* the 
Empire Stock, Columbus, Ohio. In 1904-05, she was with the Vaughn 
Glaser Stock in Cleveland, Ohio, and the next year played leads with the 
Furton Stock, New Orleans—Lady Teazle, Mrs. Dane, Juliet, Mistress Nell, 
Sophy Fullgarney, Lady Ursula, etc. It was after this that Miss Hall came 
into Broadway favor, appearing during 1906-07 as Rhy MacChesney in 
“ The Three of Us,” alternating with Carlotta Nillson in this piece, and, 
1907-08, she was first in “ The Coming of Mrs. Patrick,” at the Madison 
Square, and later in “ Girls,” at Daly’s. 

1G1 


William Holies 


July 12 


A LTHOUGH William Holies is practically unknown to this country, he 
** flourishes quite successfully in his native England, both in a managerial 
and acting capacity, and this rare combination of business ability and 
artstic talent going hand in hand is sufficiently uncommon to attract attention 
in itself. Mr. Holies was born at Liverpool and his family are all active in 
the profession, his father, Henry Maxwell Holies, being a well-known art 
critic. He made his stage debut in 1884 and for about ten years was engaged 
with various stock and traveling companies in the provinces. He then 
entered the managerial end of the profession and had charge of Lawrence 
Irving’s tour, afterward being in great demand in London as a play-pro¬ 
ducer, staging pieces for such people as George Edwardes, William Greet, 
Weedon Grossmith and Herbert Sleath. He again donned the sock and 
buskin and, after several years in the provinces, he and his wife, known to 
the stage as Nannie Goldman, did an act in the leading music halls. Mr. 
Holies’ most recent work has been a provincial starring tour in a melo¬ 
drama entitled, “ The Stepmother,” in which he played the role of a 
detective with considerable success. He is vastly popular with English 
provincial theatregoers and has held his own with them for a number 
of years. 






Austin Brereton 


A S a writer upon stage and theatrical topics, Austin Brereton’s name 
occupies a foremost place in England, America and Australia. He 
has been a dramatic critic for the past twenty-five years, holding forth 
upon what’s what in the drama at various periods in each of the three above 
mentioned countries, and, with a style and individuality all his own, he has 
gained quite a large following of enthusiastic readers. Mr. Brereton is an 
Englishman by birth, Liverpool being his starting-place in the world, and 
he was but a youth of nineteen when he began writing upon stage affairs, 
beginning in 1881 as critic upon the London Stage, a position he held with 
considerable eclat for seven years. He then went to Australia, and served 
in a like capacity for three years upon the Sydney Morning Herald. It was 
after this that we in America became acquainted with Mr. Brereton and 
his works, serving, during the season of 1893-94, as dramatic critic and 
assistant editor upon The Illustrated American, also winning not a little 
fame for his having started the “ Gallery of Players,” the stage publication 
containing biographical notes of our leading actors. He has been residing 
in London of late years, writing for various magazines, and has published 
several books on stage topics, being greatly engrossed at the moment upon 
the official biography of the late Sir Henry Irving, which should certainly 
make most interesting reading, and Mr. Brereton would happily appear to 
be the right man for the task. 


July 14 Jessie Millward 

J ESSIE MILLWARD, of a rarely magnetic personality, dignified and 
womanly, with a most captivating smile, has so many things in her favor, 
plus strong dramatic fire and temperamental sympathy, that small wonder 
her position is a distinguished one in the theatre world. The daughter of 
Charles Millward, a dramatic writer of considerable note some years ago, 
she began her stage career at the St. James’ Theatre, London, where, within 
a single season, she played in “ Still 
Waters Run Deep,” “ Coralie,” 

“ The Cape Mail,” “ Cousin Dick ” 
and “ A Quiet Rubber,” supporting 
Mr. and Mrs. Kendal and John 
Hare. After a short tour with 
Genevieve Ward in “ Forget-Me- 
Not,” Miss Millward appeared with 
Sir Henry Irving for two years, tour¬ 
ing America the second year, being 
cast for the leading juvenile roles in 
“ Much Ado About Nothing,” “ The 
Lyons Mail,” “ The Bells,” “ The 
Merchant of Venice,” “ The Belle’s 
Stratagem,” “ Louis XI.” and “ Rich¬ 
ard III.,” and understudy for Ellen 
Terry, and she was proclaimed by 
Sir Henry to be the most versatile 
actress on the English stage. She 
remained in America for a single 
season, playing with the Madison 
Square Theatre Company in “ Called 
Back ” and “ Sealed Instructions.” For a long time thereafter she ap¬ 
peared at the London Adelphi in a number of popular melodramas, such 
as “ Harbor Lights ” and “ The Bells of Haslemere.” Miss Millward 
and William Terriss co-starred in this country for a season in “ Roger 
La Honte,” and for several years following this she was a conspicuous 
figure in London theatricals, appearing at Drury Lane in “ Paul Kauvar,” 
“ A Million of Money,” “ A Sailor’s Knot ” and “ The Prodigal Daughter,” 
also re-joining Sir Henry Irving’s forces, appearing with him as Queen 
Eleanor in “ Becket ” and Margaret in “ Faust.” In September, 1894, 
Miss Millward returned to the Adelphi. where she remained for over two 
years, playing in ‘‘ The Fatal Card,” “ The Girl I Left Behind Me,” “ The 
Swordsman’s Daughter,” “ Secret Service,” etc., etc. She became permanently 
associated with American theatricals the season of 1898-99, and was leading 
lady of the Empire Theatre Company for three seasons, playing in “ The 
Conquerors,” “ Phroso,” “ Lord and Lady Algy,” “ His Excellency the 
Governor,” “ My Lady’s Lord,” “ A Man and His Wife,” “ Mrs. Dane’s 
Defense ” and “ Diplomacy.” The season of 1902-03, Miss Millward was 
first seen in “ There’s Many a Slip,” and later supported Henry Miller in 
“ The Taming of Helen.” The next year she starred in “ A Clean Slate,” 
and played Beatrice in “ Much Ado About Nothing,” with the Century 
Theatre Players. She returned to London and made her re-appearance as 
a star in “ The School for Husbands,” after which, returning to this 
country, she created Mrs. Wilmore in “ The Hypocrites,” a most finished 
piece of acting. A brilliant record this, one only worthy of so brilliant a 
player as Jessie Millward. 



103 





July 1 5 


Joseph O’Mara 


A N exceptionally talented tenor singer, one who has gained favor upon 
* *“ both sides of the Atlantic, Joseph O’Mara stands as one of the repre¬ 
sentative operatic artists of the present generation. With a voice of 
exceptional power and beauty, of unusual range and compass, it is a pity 
that a singer of so fine a calibre should be seen so infrequently upon the 
American stage. Born in Limerick, Ireland, Mr. O’Mara, after a musical 
training gained in Italy, made his stage debut at the Royal English Opera 
House, in London, singing the title role in “ Ivanhoe.” This was followed 
by three seasons as principal tenor at Covent Garden. Mr. O’Mara then made 
his debut in this country, opening at the Broadway Theatre on January 
5, 1897, as Mike Murphy in “ Shamus O’Brien.” He was next seen in the 
title role in “ The Highwayman,” in which part he was most successful 
for two years, and in the spring of 1899 he created Jack Sheridan in “ The 
Three Dragoons,” again at the Broadway Theatre. Mr. O’Mara returned 
to England that same year, and has not appeared in our midst since. He 
re-appeared at Covent Garden for a time, but for the last few years he has 
Sung all the principal tenor roles with the Moody-Manners Opera Company, 
one of his most recent successes being Lieutenant Pinkerton in “ Madame 
Butterfly.” Mr. O’Mara has a large repertoire of roles—Faust, Manrico, 
Turiddu, Rhadames, etc.,—and sings in five different languages—Italian, 
French, German, English and Irish. An admirable tenor he, one worthy 
of great praise. The interesting announcement is made that Mr. O’Mara is 
shortly returning to these shores to star in the Irish comedy, Peggy 
Machree,” under the management of Brooks and Dingwall. 



Nanette Comstock 



■\TANETTE COMSTOCK, perennial ingenue and most delightful actress, 

^ ^ was born in Albany, N. Y., in which city she received her education. 

She came to New York in the late ’8o’s. with the intention of becoming 
an actress, and secured her first engagement with Hoyt’s “ A Hole in the 
Ground.” playing the Telegraph Operator. She then became a pupil at the 
Palmer-Boucicault School of Acting, but after a few months she joined Nat 
C. Gobdwin in “ A Gold Mine.” Miss Comstock then appeared with Kate 
Claxton in “ Booties’ Baby ” for a short time, and was next in “ Shenan¬ 
doah ” for two seasons. She was leading lady with W. J. Scanlan in 
” Mavourneen,” appearing with him at the time of his tragic end. and was 
then at the Standard Theatre in “ The Family Circle ” and “ No. 3 A.” 
She was in the original cast of “ Charley’s Aunt,” at the Standard, followed 
by a London engagement in “The Girl I Left Behind Me.” After this she 
was with Joseph Jefferson, as Bertha in “ The Cricket on the Hearth”; with 
Henry Miller in “ Heartsease ”; with John Hare in “ A Bachelor’s Ro¬ 
mance,” in London, and with Sol Smith Russell in the same piece in this 
country; with Wilton Lackaye in “Charles O’Malley,” with Charles Dickson 
in “ Mistakes Will Happen ” and in a revival of “ Shenandoah.” Just to 
prove Miss Comstock’s capacity for hard work, one has but to quote a com¬ 
plete list of her recent achievements, as follows: 1899-00, with Otis Skinner 
in “The Liars” and “Prince Otto”; 1900-01, co-starring tour, with Howard 
Kyle, in “Nathan Hale” and in “Lovers’ Lane”; 1901-02, with John 
Mason in “ The Altar of Friendship,” Henrietta Crosman in “ Joan o’ the 
Shoals” and William Collier in “The Diplomat”; 1902-03, with Mr. Skinner 
in “ Lazarre ” ; 1903-04, with Mr. Collier in “ Personal,” Dustin Farnum in 
“ The Virginian ” and Mr. Collier in “ The Dictator ”; 1904-05, starring 
tour in “ The Crisis ” ; 1905-06. with Raymond Hitchcock in “ The Galloper ” 
and the London production of “ The Lion and the Mouse ”; 1906-07, with 
Mr. Collier in “On the Quiet” and “Caught in the Rain”; and 1907-08, 
she was not seen on the stage at all, but she is soon to resume starring. 


164 


Laurence Housman 


July 18 


AURENCE HOUSMAN, the distinguished English writer, whose books 
■*— 1 of verse and prose have made such an irresistible appeal, has turned 
his hand to good account upon at least two occasions in contributing 
his share towards the stage literature of England, and, as he scored more 
than an average success in each instance, he should be encouraged to make 
more frequent efforts in the playwriting line. Mr. Housman’s first effort 
at wooing the dramatic muse was a Christmas Pierrot play entitled, 
“ Prunella,” 1904, written in collaboration with H. Granville Barker, and 
produced on December 23d, of that year, at the Court Theatre, with Mr. 
Barker as Pierrot and Thyrza Norman in the title role. This play was 
subsequently revived at this same playhouse on April 24, 1906, with W. 
Graham Browne and Dorothy Minto in the leading parts, and it was brought 
forward a third time on May 7, 1907, with these same two players at the 
helm. Mr. Housman’s next dramatic effort was to provide the lyrics for 
Liza Lehmann’s music in the operatic version of “ The Vicar of Wakefield,” 
produced at the Prince of Wales’ Theatre on December 12, 1906, with David 
Bispham as Dr. Primrose. Thus encouraged, it seems as though Mr. Hous¬ 
man might make a more frequent appeal across the footlights. He writes 
in a charming, lyrical vein, in both his verse and prose efforts, and he should 
have little difficulty in injecting this same spirit into his dramatic works. 






OIDNEY IRVING is coming to the fore with great rapidity these days 
^ as a young juvenile actor of considerable promise, and the seasons to 
come should find him enrolled among the cleverest of our younger 5 set 
of juvenile men. He has youth, a good appearance and considerable talent 
as, his most valuable assets, and it would appear as though it lies solely 
within himself to win a really prominent name and reputation. A native 
of Chicago, Ill., Mr. Irving has been actively concerned in theatricals for 
about seven years, one of his first engagements being in Liebler and Co.’s 
production of “ The Christian.” He was next seen with William Beach 
in “ Toll Gate Inn,” and then appeared in vaudeville in a dramatic sketch. 
It was the season of 1902-03 that Mr. Irving began to make real headway in 
his profession, appearing that year as leading man with Gertrude Coghlan in 
“ Alice of Old Vincennes.” He started out, the forepart of the next season, 
with Sadie Martinot in “ The Second Mrs. Tanqueray,” and was then with 
Rose Coghlan in “ The Greatest Thing in the World.” The season after this 
he was first with the Grand Opera House Stock, New Orleans, then appeared 
at the Princess Theatre with Walter Perkins in "Who Goes There?” and 
was at the American with the Fawcett Stock in " Romeo and Juliet.” The 
season of 1905-06, Mr. Irving was a member of John Drew’s company, 
appearing at the Empire as Thomas Hibbard in “ De Lancey,” and the season 
following he was first with Edward Abeles in “ Brewster’s Millions,” and 
then took up the part of Reginald Crosby in “ The Daughters of Men.” 
Mr. Irving began the season of 1907-08 as Mr. Hall in " Artie,” later re¬ 
joining the cast of “ Brewster’s Millions.” A particularly promising record 
is this, and one of which its creator may be proud. 


1G5 


July 20 


Madame Janauschek 


A TRULY wonderful figure upon the dramatic horizon was Madame 
Francesca Romanana Magdalena Janauschek, the great tragedy queen of 
a few years ago, and she has left behind her a name that will live 
for all time in stage history. Hers was a wonderful career in many ways, 
combining many years of fame and success with a long period of oblivion 
and poverty. A native of Prague, Bohemia, Madame Janauschek was high in 
favor in Europe for many years before she invaded American territory. She 
first appeared here in 1867, acting in her native tongue, and so enthusiastic 
was her reception that she decided to locate here permanently, making her 
debut as an English-speaking actress in 1872. During the twenty years that 
followed her successes crowded fast upon her, being a tragic actress of the 
very finest calibre, a few of her most popular roles being: Lady Macbeth, 
Meg Merrilies, Medea, Mary Stuart, Marie Antoinette, and Adrienne 
Lecouvreur. Her professional fortunes began to turn in the early nineties, 
and, after appearing with Kate Claxton in “ The Two Orphans,” in “ The 
Great Diamond Robbery ” and with Stuart Robson in “ Mrs. Ponderbury’s 
Past,” she practically sank into oblivion. The closing years of her life were 
marked with great suffering and pain, plus the stings of poverty, and her 
passing was probably a merciful relief from hardships over which she had 
no control. Madame Janauschek was a remarkable figure in her time, truly 
blessed with the divine fire, and a great pity it was that she could not hold 
her own until the end. 







AUBREY SMITH, one of England’s best and most reliable actors, is 
fast becoming a big favorite with American playgoers, and if he is seen 
much more frequently in our midst we will be loath to have him ever 
return to his native land. It was Mr. Smith’s intention when a young 
man to become a physician, and with ithat end in view he studied at Cambridge. 
But considerable experience in amateur theatricals turned his thoughts in 
the direction of the stage, and he made his debut as an actor in John 
Hare’s company. It was in the support of this same star that Mr. Smith 
made his debut on the American stage, appearing at Abbey’s Theatre, Decem¬ 
ber 23, 1895, as Amos Winterfield in “ The Notorious Mrs. Ebbsmith.” He 
then played in London for a long time, appearing principally with George 
Alexander and Mrs. Patrick Campbell. Joining the forces of Forbes Robert¬ 
son, Mr. Smith created the part of Torpenhow in “ The Light that Failed,” 
which he played in this country with Mr. Robertson during the season 
of 1903-04, being seen also as the Ghost in “ Hamlet.” Upon his return 
to London, he appeared with George Alexander in “ Lady Windermere’s 
Fan” and Ellen Terry in “Alice Sit-by-the-Fire,” later on succeeding Arthur 
Bourchier in “ The Walls of Jericho.” The season of 1906-07, Mr. Smith 
played Sir Marcus Ordeyne in “ The Morals of Marcus,” then supported 
John Hare in “The Great Conspiracy” and created Gerald Eversleigh in 
“ My Wife,” the role that John Drew played over here. Mr. Smith then 
made his third professional trip to our shores, the season of 1907-08, being 
most successful in his original role in “ The Morals of Marcus,” in the 
support of Marie Doro. An actor of good, sound technique, Mr. Smith is 
a worthy, dignified ornament to his profession, and one cannot help but 
express the wish that he would become permanently identified with American 
theatricals. 


166 




Gus Elen 


July 22 


US ELEN is one of the particular pets of the London music-hall world, 
his vogue being of tremendous proportions upon the other side of the 
Atlantic, but it must be said in all truth that he didn’t create any great 
upheaval along Broadway upon the occasion of his American debut, in the 
fall of 1907. But Mr. Elen’s act is so essentially English that he could 
scarcely expect to be greeted with the same enthusiasm here as that accorded 
him at home. He opened at the New York Theatre on September 9, 1907, 
remaining a fortnight, after which he made a hasty trip over the country. 
As a singer of coster and cockney songs, he is certainly in the front ranks, 
and it is easy to understand his popularity upon English soil. Mr. Elen 
began his stage career in 1882, starting out in rather humble surroundings 
as a music-hall entertainer, beginning as an eccentric character comedian 
and negro sketch artist. He has continued in the halls ever since, soon 
taking up the style of work for which he has now become famous, and his 
salary is said to be one of the largest in his field of endeavor. Mr. Elen 
has played as long as three consecutive months at one London hall, and his 
name is a household word throughout the provinces as well. He sings 
his unique songs in a highly diverting fashion, with all the quaint coster 
touches, and his success on the other side is a fitting tribute to one who 
is an artist in his line. 


* 4 * 4 * 


William Mackintosh 



W ILLIAM MACKINTOSH holds a leading position among London’s 
character actors, and his services are always in demand, though, pro¬ 
fessionally speaking, he has been rather inactive within recent seasons. 
Mr. Mackintosh was born in Melbourne, Australia, passed his youth in Eng¬ 
land and has been an actor for thirty-six years. He made his first success 
in 1875 at the Gaiety Theatre, Dublin, in the support of Mrs. John Wood, 
playing Crabtree in “ The School for Scandal ” and Mark Meddle in “ Lon¬ 
don Assurance.” His London debut occurred four years later, appearing 
with Mr. and Mrs. Kendal, with whom he remained several years, being cast 
in “ A Scrap of Paper,” “ The Squire,” “ The Ironmaster,” etc. This was 
the beginning of a long series of London engagements, and he has been 
conspicuously on view in the British capital ever since, the following being 
a few of his most successful appearances: with Beerbohm Tree as Baron 
Hartfelt in “Jim the Penman,” afterward supporting E. S. Willard in this 
same play; with Sir Henry Irving in “ Ravenswood,” “Robespierre,” etc.; 
with Sir John Hare in “ School ”; and with Albert Chevalier in “ Memory’s 
Garden.” Mr. Mackintosh has not figured largely in London theatricals for 
the past half-dozen years, though he met with great approval, in April, 1907, 
when he appeared at the Lyric Theatre as King William III. in a revival of 
“ Clancarty,” supporting Lewis Waller. Most excellent reports of Mr. 
Mackintosh’s abilities have reached us in this country, and he appears to 
be an actor of sterling worth. 


1GT 


Grace Merritt 


July 24 

RACE MERRITT is a new and attractive stellar light in the-theatrical 
heavens, and she promises to fill a conspicuously successful position ere 
many seasons have passed. Though she has been at the head of her 
own company only two years in all, yet during that time she has gained a 
lasting place as an actress of consummate poise and distinction, one in whom 
the powers of comedy and emotion are blended to an admirable degree and 
requires but the opportunity to give them full sway. Of a most charming, 
wholly feminine, personality, with a dainty archness wholly her own, Miss 
Merritt is most ambitious to achieve the highest heights of dramatic fame, 
and that these will not be denied her, as she grows in years and experience, 
is a fact freely admitted by all the leading critics of the day who have watched 
the development of this magnetic young player. Miss Merritt made her debut 
on the stage at the Empire Theatre as the Lady in Bernard Shaw’s famous 
comedy, “ The Man of Destiny,” she being the first actress to play this role 
on the American stage. Despite this auspicious beginning, she abandoned 
the footlights for several years, and traveled through Europe extensively, 
all the time studying the methods of the famous foreign artists and gaining 
a great knowledge of stage technique through this channel. Upon her 
decision to enter upon active stage work again, Miss Merritt appeared on 
Broadway in several productions that soon fell by the wayside, such as “ An 
African Millionaire,” supporting H. Reeves-Smith, at the Princess’ Theatre, 
and “ The Braisley Diamond,” at the Madison Square. She also appeared 
in the support of Arnold Daly, playing her original part in “ The Man of 
Destiny,’’ owing to the illness of Dorothy Donnelly, and she has toured 
through the South and West in a piece called “Alice, Where Art Thou?” 
All of which, while good enough in itself, was hardly satisfactory to an 
actress of the ambitious calibre of Miss Merritt, and she determined to find 
the right opportunity in a part of the star variety. Most happily, she 
selected the role of Mary Tudor in “ When Knighthood was in Flower,” 
and for the past two years her name has been associated with this play, 
her place as a stellar drawing-card now being of admitted permanency. Miss 
Merritt has played in all the leading cities of the East and West, her excep¬ 
tionally clever portrayal of this role being conceded to be one of the most 
admirable pieces of individual acting of modern times, and our theatregoing 
public is eagerly awaiting her appearance in a new role, one worthy of this, 
ambitious, talented young artiste. 

The isles of Greece, the isles of Greece! 

Where burning Sappho loved and sung. 

Where grew the arts of war and peace— 

Where Delos rose, and Phoebus sprung! 

Eternal summer gilds them yet, 

But all except their sun is set. 

—Byron’s “ Don Juan.” 


168 


July 25 Nat C. Goodwin 

N AT C. GOODWIN has been actively engaged in theatrical affairs for 
thirty-five years, and from the very first moment of his appearance 
behind the footlights he has been one of the greatest popular favorites 
the stage has ever known. And for over four-fifths of this time he has 
starred at the head of his own company, too. Born in Boston, Mass., and 
educated there and at Farmington, Me., Mr. Goodwin started out in- life 
in the counting-room of a 
Boston dry-goods firm. He 
gave this up almost immedi¬ 
ately, however, to embark 
upon a theatrical career, 
making his debut at How¬ 
ard’s Athenaeum, Boston. 

March 5, 1874, as a news¬ 
boy in “ Lost in New York,” 
also giving imitations of 
famous actors. He made a 
tremendous hit with this lat¬ 
ter and for several years 
flourished as an imitator, at 
the same time appearing in 
New York and Philadelphia 
in the burlesques of “ Black- 
Eyed Susan,” “ Sketches in 
India,” “The Little Rebel ” 
and “ Stage Struck.” I11 
1876, he was seen in “ Evan¬ 
geline,” in which he continued two years. Mr. Goodwin then started out in a 
stellar capacity, and for ten years was seen in a round of burlesques and 
farces, such as, “ Cruets,” “ Hobbies,” “ The Member for Slocum,” “ Those 
Bells,” “ Warranted,” “ Confusion,” “ The Skating Rink,” “ A Terrible 
Time,” “Little Jack Sheppard,” “Turned Up,” “Big Pony” and “Lend 
Me Five Shillings,” and also, during the season of 1882-83, he appeared 
with Edwin Thorne in “ The Black Flag.” Mr. Goodwin then abandoned 
the farce and extravaganza style of entertainment and, beginning in 1889, 
offered more legitimate plays, the following being a complete list of all 
his stellar vehicles since that time, irrespective of many one-act plays which 
he has produced from time to time : “ A Gold Mine,” 1889; “ The Nominee,” 
1890; “A Gilded Fool,” 1892; “In Mizzoura,” 1893; “David Garrick” and 
“ Ambition,” 1895; “ The Rivals.” 1896; “ An American Citizen,” 1897; 
“Nathan Hale,” 1898; “The Cowboy and the Lady,” 1899; “ When We Were 
Twenty-one,” 1900; “The Merchant of Venice,” 1901; “The Altar of 
Friendship,” 1902; “A Midsummer Night’s Dream” and “My Wife’s Hus¬ 
bands,” 1903; “The Usurper.” 1904; “The Beauty and the Barge” and 
“ Wolfville,” 1905; “The Genius,” 1906; “What Would a Gentleman Do?” 
and “The Master Hand,” 1907; and “The Easterner,” 1908. Mr. Goodwin 
has paid four professional visits to London: in 1890, in “A Gold Mine”; 
in “The Cowboy and the Lady” and “An American Citizen,” 1899; in 
“When We Were Twenty-one,” 1901; and “A Guilded Fool” and a revival 
of “ An American Citizen,” in 1906. He also starred for a brief time in 
Australia in 1896. Mr. Goodwin is an accomplished, finished actor, par¬ 
ticularly at home in comedy roles, and a great pity it is that he has such 
difficulty in securing an acceptable starring vehicle these days. 



100 



July 26 


Frank Tyars 


T^RANK TYARS may certainly pride himself upon a really remarkable 
A professional record,. one almost unique in itself and which is likely to 
remain so for many years to come. Twenty-five consecutive years 
in one theatre is sufficient of a distinction to place Mr. Tyars in a class 
by himself, and it is not likely that he will be deprived of this glory during 
the present generation. Mr. Tyars, an Englishman by birth, began his stage 
career in 1870, and his first six years as an actor were devoted to British 
provincial companies. He appeared at Drury Lane Theatre, London, in 1876, 
appearing that year in “ Richard III.,” “ Macbeth ” and “ The Corsican 
Brothers.” In May, 1877, he appeared at the London Lyceum in “ The Lyons 
Mail,” under Mrs. Bateman, and when Sir Henry Irving assumed the man¬ 
agement of the theatre he continued there under his direction until 1902, 
twenty-five years in all. Mr. Tyars was a member of Irving’s support for 
twenty-seven years, accompanying him to America upon his eight tours, 
and he played Sir Reginald Fitzurse in “ Becket ” on the night of Irving’s 
death, October 13, 1905, at Bradford. Mr. Tyars appeared on January 2, 
1906, with H. B. Irving in “ The Jury of Fate,” at the Shaftesbury, and a few 
months later he supported Lena Ashwell in “ The Bond of Ninon,” at the 
Savoy. He rejoined Mr. Irving’s forces in the fall of 1907, accompanying 
him, like his father before him, upon his first tour of this country, playing 
many of the roles he formerly acted with the elder Irving, and he has con¬ 
tinued in his support ever since. Mr. Tyars’ work is well known to American 
theatregoers through his many visits to our shores, and by his scholarly, 
dignified acting he has won a large army of admirers in our midst. 





FitzGerald 




A LTFIOUGH not actively engaged in stage affairs, at least from a purely 
2 * professional standpoint, there are few names better known to Broad¬ 
way than Marie V. FitzGerald, the indefatigable press representative 
of the Percy G. Williams theatres. She has proven a revelation in the news¬ 
paper world during the past year, being sponsor for any amount of brainy, 
original press stuff, which, incidentally, she never has any trouble in having 
printed, and by her clever, strictly up-to-date work she has become the 
acknowledged leader among feminine press agents of to-day. Miss Fitz¬ 
Gerald was born in Brooklyn, N. Y., but lived as a child in New York City, 
gaining her early education in a Canadian convent and later graduating 
from the Normal College. She began her newspaper career less than six 
years ago by doing feminine notes on the Evening Telegram. This, how¬ 
ever, made little appeal to one of her ambitious calibre, and she soon aban¬ 
doned it to become art editor upon the Brooklyn Standard Union. While 
engaged on this paper, Miss FitzGerald determined to realize an ambition 
of trying her hand at theatrical press agency, becoming representative for 
the Spooner Stock Company. Her success in this new undertaking was 
instantaneous, and promptly her fame and ability began to be noised abroad. 
Thus it happened that she came under the notice of Percy G. Williams, 
and he promptly engaged her, in the fall of 1907, to keep the newspapers 
posted on the doings of his five Greater New York theatres—the Colonial, 
Alhambra, Orpheum, Gotham and Novelty. Her great success in her new 
surroundings is now a matter of stage history. Miss FitzGerald, who is 
soon to take her place among our leading feminine playwrights, is a girl of 
exceptional charm of manner, handsome and imposing in appearance’, with 
a flow of ready wit and gay badinage, and her present success merely acts 
as an incentive to striving for even bigger accomplishments. 


170 


July 28 Margaret Bourne 

IT is good to note that Margaret Bourne, with her accustomed modesty, 
* is advancing steadily in her stage work, and without any undue publicity 
t of that fact. Each season finds this attractive and ambitious young player 
gaining added praise and caste in her career, and her professional outlook 
is certainly a bright one. Miss Bourne is a native of Massachusetts, her 
home being in one of the fashionable suburbs of Boston. She made her 
debut in 1899, playing a “ thinking role ” with 
Julia Marlowe in “ Barbara Frietchie,” and the 
next season found her considerably advanced, 
playing the ingenue role of Jane Griffin in 
“ Richard Savage/’ with Henry Miller. The 
season of 1901-02, she appeared with Bertha Gal- 
land in “ The Forest Lovers,” and the year fol¬ 
lowing played but a brief time only with Miss 
Galland in Washington, D. C., being Lady 
Sneerwell in “ The School for Scandal ” and Lady 
Capulet in “ Romeo and Juliet.” The year of 
1903-04, Miss Bourne was leading woman with 
Louis James and Frederick Warde in “ Alexander 
the Great,” leaving them in the middle of the 
season to re-join Miss Galland, playing Mary 
Stuart in “ Dorothy Vernon of Haddon Hall,” 
completing this season as leading lady with Nance 
O’Neil. The following season she was with Mrs. 

Patrick Campbell in “ The Sorceress,” and when 
illness temporarily closed that actress’ tour, Miss 
Bourne was transferred to the company of E. 

H. Sothern and Julia Marlowe, playing Hero in 
“ Much Ado About Nothing ” and Gertrude in 
“ Plamlet,” re-joining Mrs. Campbell upon the 
resumption of her tour. For a year following this 
Miss Bourne was not in the public eye, owing to ill health, her 
only appearance being as Lucille Ferrant in “ The Wife,” for a single 
week with the Empire Stock Company, Boston. She was then seen as 
Louka in “ Arms and the Man,” with Arnold Daly, in the fall of 1906, 
and upon the abrupt closing of that actor’s tour she was immediately 
engaged by Wright Lorimer as his leading woman in “ The Shepherd King,” 
making a most attractive Michal. The season of 1907-08, Miss Bourne, now 
permanently in the ranks of our foremost leading women, was Lady Diana 
Wynnegate in “ The Squaw Man,” with William Faversham. An actress of 
considerable emotional force, with youth, ambition and temperament, Miss 
Bourne has her best years before her, and, with her striking, classical type 
of blonde beauty, she would appear to have many brilliant things in store 
for future seasons. 



*§* 4 s Hi* 

Oh, thou, who passest through our valleys in 

Thy strength, curb thy fierce steeds, allay the heat 

That flames from their large nostrils! Thou, oh Summer, 

Oft pitchest here thy golden tent, and oft 

Beneath stout oaks hast slept, while we beheld 

With joy thy ruddy limbs and flourishing hair. 

—Wm. Blake’s “ To Summer.” 


171 



July 29 Flora Hengler 

T HE name of the Hengler girls will go down into history as ardent 
devotees, of exquisite dancing, and all lovers of the 1 erpsichorean art 
gladly pay these beautiful girls homage. As little children they went 
on the stage, and now, in the flush of early girlhood, they personify the 
poetry of motion and illustrate it so delightfully that there is no question 
of their being in the very foremost ranks of American dancers. They have 

been thoroughly well schooled in 
their profession since their early pin¬ 
afore days, and now they stand as 
famously successful representatives 
of one of the most beautiful of all 
the arts. Flora Hengler, dashing, 
graceful, of a most bewitching 
type of brunette beauty, certainly 
has everything in her favor to win 
plaudits behind the footlights, and a 
splendid thing it is to note that her 
talents have met with their just 
recognition. After conflicting with 
the Gerry Society in her childhood 
days, she and her sister, the charm¬ 
ing and equally talented and popular 
Miss May, went to England, where 
they received a warm welcome and 
flourished triumphantly for a long 
time. They returned to this country 
in 1901, and immediately Miss Flora 
became one of the particular pets of 
Broadway, appearing for four consecutive seasons in as many prominent 
productions, winning great favor as Lord Jocelyn in “ The Sleeping 
Beauty and the Beast,” at the Broadway Theatre; as Zu-Zu in “Tommy 
Rot,” at Mrs. Osborn’s playhouse; as Beatrice Wheeler in “The Runa¬ 
ways,” at the Casino; and as Molly Loftus in “ The Cingalee,” at Daly’s. 
The admirers of the Henglers on the other side of the water kept up 
such an insistent clamor for their return that the girls made a most 
triumphant European trip during the season of 1906-07, scoring an artistic 
success at the Empire, London; at the Marigny, Paris; and in St. Peters¬ 
burg. They canceled a contract in Berlin to return to their native land 
to be with “ The Rogers Brothers in Panama,” at the Broadway Theatre. 
Their re-appearance proved to be one of the keen delights of the theatrical 
season of 1907-08, and as Paquita, a Spanish coquette, in the “ Panama ” 
production, Miss Flora’s acting was a delightful picture of demureness and 
diablerie, while the joint Spanish dancing of the two girls gave real 
atmosphere to the play. Both the Hengler girls, since earliest childhood, 
have had a strong society following and are the protegees of several of our 
most prominent society leaders, having entree into some of the most exclusive 
homes of both the old and the new world. A wonderfully talented pair 
of girls, the Henglers, and as both social and footlight favorites they 
occupy an exceptionally prominent position. 







Vira Stowe 


July 29 

V ERY few players there are who find themselves numbered among the 
public’s favorites within a single season, and thus it happens that Vira 
Stowe is not only an exceptionally capable young actress, but a very 
lucky one as well. She has been enrolled in the Thespian army only a year, 
and yet, during this short time, she has played two important parts on 
Broadway. Indeed, it would almost seem that Miss Stowe’s career is to 
be a replica of such well-known 
actresses as Viola Allen, Hilda 
Spong, Annie Russell or Elsie de 
Wolfe, each of whom played leading 
roles from the beginning. It is 
hardly fair, however, to the young 
woman herself to form any definite 
opinion of her capabilities just yet, 
but she certainly appears to have a 
clear road ahead of her, one in which 
her superabundance of youth, talent 
and ambition will assuredly count 
as most valuable assets. Miss Stowe 
is a Massachusetts girl, her home 
being in the town of Newtonville. 

After finishing the course at 
Wheaton Seminary, she entered the 
class of 1908 at Vassar and took an 
active part in the dramatic work 
there. In (the spring of 1907 Miss 
Stowe made her debut as a full- 
fledged professional, appearing with 
the Birdsall Stock Company, Newark, N. J., her first role being Dora 
Prescott in “ Men and Women.” She was a member of this organiza¬ 
tion for several months and gained a most excellent training in a round 
of ing'dnue and juvenile roles, such as Sophie in “ Leah Kleschna,” 
Orange Moll in “ Mistress Nell ” and Evangeline Bender in “ All the Com¬ 
forts of Home.” With this excellent beginning, Miss Stowe was well 
fortified and quite capable of holding her own when Charles Dillingham 
engaged her to create the leading woman’s role of Mamie Carroll in the 
production of “ Artie,” at the Garrick Theatre. Her winsome girlishness, 
with a sweet touch of delicate simplicity, suited this role admirably and 
immediately placed her upon a happy footing with Broadway theatregoers. 
After the failure of “ Artie,” Miss Stowe emerged triumphant from the 
chaos by securing an engagement with Charles Frohman, and as Denise in 
“ Twenty Days in the Shade,” at the Savoy Theatre, she again gave proof 
of the delightful qualities that are hers behind the footlights. Excellent 
and most admirable as her start has been, Miss Stowe has set a much 
higher goal for herself, one in which the word failure has no part, and, 
with commendable ambition, is seeking to develop and broaden in her art 
in every way. If her first professional year is any criterion of those to 
follow, this talented and attractive young girl may look forward to a career 
full of many brilliant achievements. 



173 




July 30 


Harrison Grey Fiske 


A BUSY and energetic figure in the theatre world is Harrison Grey Fiske, 
dramatic editor and theatrical manager. He is especially enthusiastic 
as an opponent to the so-called Theatrical Trust, and believes in en¬ 
couraging the American-made play. Mr. Fiske was born at Harrison, N. Y., 
educated privately, with two years in the New York University. He began 
his journalistic career as editorial writer and dramatic critic upon the Jersey 
City Argus, and was later on the New York Star. In the autumn of 1879 
he bought an interest in the New York Dramatic Mirror, the well-known 
stage weekly, was placed in charge of it and in less than ten years he 
became sole proprietor of the paper, which he has conducted along most 
fearless and independent lines ever since. In March, 1890, Mr. Fiske 
married Minnie (Maddern) Davey, the famous actress, and in 1896 he 
became manager of her starring tours, which arrangement has lasted ever 
since. In 1901, he leased the Manhattan Theatre, making many important 
productions there, for five years, in most of which Mrs. Fiske was the central 
figure, and her presence and influence were largely felt, especially in the 
matter of stage direction, in those plays which her husband produced and 
she was not actively concerned. Mr. Fiske rescued Bertha Kalich from the 
East Side and made an English-speaking actress of her, for which we should 
be truly grateful; and while many of his amusement enterprises have fallen 
by the wayside, they have always been characterized by a sincerity of 
purpose and laudable attempt that deserve commendation in themselves. 





Fairbrother 


C YDNEY FAIRBROTHER, one of England’s popular young actresses, 
^ has flitted across the American stage horizon with an infrequency rather 
to be deplored, as she is too clever an actress not to be seen more often 
in our midst. Upon three different occasions she has favored us with a 
visit, but in each instance ’twas of such a fleeting variety that we scarcely 
had the chance to gain a fair estimate of her capabilities. Miss Fairbrother 
made her stage debut at Birmingham in September, 1890, with Mr. and 
Mrs. Kendal in “ The Squire,’’ and a month later she was acting on Broad¬ 
way in the support of these same stars. She was also seen in this country 
the season following, still in the support of the Kendals. Miss Fairbrother, 
upon her return to England, appeared on tour with Charles Cartwright in 
“ The Idler ” and “ Jim the Penman,” and was then with Lewis Waller in 
“ An Ideal Husband.” For quite a time after this she figured in several 
London melodramatic productions: such as, “ The Star of India,” “ In 
Sight of St. Paul’s ” and “ The Two Little Vagabonds.” It was the season 
of 1900-01 that found Miss Fairbrother upon American soil again, appearing 
with E. S. Willard as Naticy Blenkarn in “ The Middleman.” Since then 
she has made quite a name for herself in the London stage world, a few of 
her biggest successes being: as Amanda in “ ’Op o’ me Thumb,” at the St. 
James’; as Prosperine in " Candida” and Dolly Clandon in “ You Never 
Can Tell,” at the Court; in "The Little Stranger,” at the Criterion; “The 
Silver Box,” at the Court; and, within the past two years, she has dis¬ 
played a wonderfully versatile streak by appearing in musical comedy, sup¬ 
porting Seymour Hicks and Ellaline Terris in “ The Beauty of Bath,” at 
the Aldwych, and with these same stars in “ The Gay Gordons,” at the 
same theatre. 


174 



MAURICE BARRYMORE. 


Born, August 23, 1847. 


Died, March 25, 1905, 




































































































* 
































































































Augustus Phillips 


August 1 

A RECENT addition to the ranks of Broadway leading men, one destined 
to occupy a permanent place in the affections of New York theatregoers, 
is Augustus Phillips. By a series of admirable performances in the 
leading roles with the Spooner Stock Company, at Keith and Proctor’s Fifth 
Avenue Theatre, he has proven his right to be numbered among our most 
earnest, conscientious players, one with a thorough, complete knowledge of 
all the finer technicalities of stage 
art, and his professional future is 
assuredly a roseate one. It is a 
rather remarkable coincidence, and 
one that pays a fitting tribute to his 
ability as an actor, that during his 
entire career of a dozen years and 
more, Mr. Phillips has played under 
practically but two managements— 
his own and that of Mrs. Mary 
Gibbs Spooner. An Indiana boy by 
birth, born in Rensselaer, Ind., Mr. 

Phillips made his debut in the early 
’90’s in the support of his brother, 
who was a well-known repertoire 
star throughout the West. Two 
years in these surroundings and he 
branched out as a star upon his own 
account, appearing the season of 
1896-97 at the head of Phillips’ 

Ideals. Though he won great favor 
and popularity at the head of his 
own organization, Mr. Phillips received so advantageous an offer from 
Mrs. Spooner to become leading man of her forces that he gladly gave 
up stellar honors to play opposite Edna May Spooner, joining this com¬ 
pany in 1897. From that time on Mr. Phillips has played all the lead¬ 
ing roles with the Spooner organization, appearing first with them on tour, 
then during the long and successful reign in Brooklyn, finally to come into 
their own as acknowledged Broadway favorites at Keith and Proctor’s 
Fifth Avenue Theatre. Unquestionably much of the great success that 
the Spooners have enjoyed lies upon the shoulders of their principal mascu¬ 
line player, an appreciation which Mr. Phillips accepts all too modestly, and 
his repertoire of leading parts has attained proportions that many a Broad¬ 
way star might envy. Among some of his most successful roles, one might 
mention: Svengali in “Trilby,” Sydney Carton in “The Only Way,” 
Augustus Billings in “ Too Much Johnson,” Lord Wheatley in “ Phroso,” 
Gavin Dishart in “ The Little Minister,” Romeo in “ Romeo and Juliet,” 
Basil Jennico in “ The Pride of Jennico,” Lord Algy in “ Lord and Lady 
Algy ” and the title roles in “ Captain Lettarblair ” and “ Faust.” Excellent 
organization though the Spooners unquestionably are, they cannot hope to 
retain Mr. Phillips’ service for all time; indeed ’tis a bit surprising that he 
has not been lured away ere this, and he undoubtedly has greater glories 
awaiting him, glories that he will be able to meet full well, with all his 
excellent experience. 



ITT 





August 2 Claude Gillingwater 

F EW actors have made greater artistic progress within the past half- 
dozen years than Claude Gillingwater, he who has contributed a series 
of the best sort of character delineation to the Broadway stage, and in 
each instance his work has been marked by a rare individual touch, making 
it all the more conspicuous, the import of the role aside. His early training 
having been gained in the school of farce comedy, with such offerings as 

“ A Boy Wanted ” and “ Casey’s 
Wife,” it is all the more to Mr. 
Gillingwater’s credit that upon this 
foundation he has managed to build 
up a name and reputation, the qual¬ 
ity of which are unquestioned. It 
was the season of 1899-00 that saw 
the turning-point in his career, and 
bv his work as Horace Greengage 
Dobbins in “A Young Wife” he 
won universal attention. No less 
an astute manager than David Be- 
lasco sought out Mr. Gillingwater, 
placed him under a lengthy contract, 
and many were his triumphs under 
the Belasco banner. In the double 
bill of “ Naughty Anthony ” and 
“ Madame Butterfly,” he created the 
roles of Mr. Huested and Captain 
Sharpless respectively, his portrayal 
of this latter character winning the 
highest encomiums, one critic say¬ 
ing, “ Claude Gillingwater gave a fine performance in the very hard part 
of the American consul, a capitally conceived, thoroughly faithful por¬ 
trait of absolute naturalness and most excellent art.” He produced this 
same play for Charles Frohman at the Duke of York’s Theatre, London, 
and played the American Consul during the play’s run on the other side. 
After a rather brief engagement in the support of Blanche Bates, playing 
the Earl of Rockingham in “ Under Two Flags,” Mr. Gillingwater joined 
the forces of Mrs. Leslie Carter and was seen in the support of that 
actress for four consecutive seasons. He created the role of Denys in “ Du 
Barry,” as well as that of Bevilaccus in “ Adrea,” and also played Cascart 
in “ Zaza,” three widely diverse parts. But even more versatile talents 
were yet to be revealed when he was enrolled in the support of Fritzi Scheff, 
and in the operatic surroundings of “ Mile. Modiste ” he proved to be thor¬ 
oughly at home, his clean-cut, legitimate methods in the comedy role of 
Hiram Bent bringing out all his best qualities, a part in which he was seen 
three consecutive years. Mr. Gillingwater has made an enviable name for 
himself, along lines peculiarly his own, and he is the type of actor to whom 
each new role merely means additional growth and progression. 



178 




August 3 


Annie A. Adams 


A S a proof of the march of time, Annie A. Adams, quite a well known 
** actress in her time, must now content herself with the sobriquet of 
“ the mother of Maude Adams.” There is a gentle, womanly dignity 
about her acting these days that makes her especially valuable in a certain 
type of character roles, and it is as an actress of such parts that we of the 

present time know her best. Mrs. Adams, who claims kinship with John 

Quincy Adams, her grandfather, Joshua Adams, having been a cousin of 
the sixth President, was raised amid a Mormon atmosphere, her father, also 
Joshua Adams, having been a Mormon missionary, and she passed all of 

her youth in Salt Lake City. As an actress Mrs. Adams played principally 

in Western stock organizations, appearing in all the leading cities in that 
part of the country for a number of years, running the gamut from soubrettes 
to leads. She became permanently associated with Eastern theatricals about 
twenty years ago, seventeen of which she has appeared exclusively under 
Charles Frohman’s management. One of Mrs. Adams’ earliest hits was as 
Lizzie Webber in Hoyt’s “ A Midnight Bell.” She then appeared in the 
original productions of “ Men and Women ” and “ The Lost Paradise,” and 
appeared with John Drew for five years: in “ The Masked Ball,” “ The 
Butterflies,” “ That Imprudent Young Couple,” “ Christopher, Jr.,” and 
“ Rosemary.” She was also seen in the melodramatic success, “ The White 
Heather.” In more recent times, Mrs. Adams has appeared with Ethel 
Barrymore in “ Captain Jinks ” and “ Cousin Kate,” with William Faversham 
in “ Imprudence ” and in the original production of “ Mrs. Leffingwell’s 
Boots.” In the spring of 1907, Mrs. Adams appeared for a few weeks with 
Miss Barrymore in a revival of “ Captain Jinks,” and has since returned to 
Salt Lake City, where she is now conducting a. dramatic school. 






Walter 



W ALTER HALE, by a long series of consistently good portrayals on 
the New York stage, has been given a place in the front ranks of 
our most popular actors of leading and heavy roles. He is an 
exceptionally clever actor, blessed with magnetism and good looks, and 
his name gives an added tone to any cast in which it figures. Born in 
Chicago, Ill., and educated at Shattuck Military School, Faribault, Minn., Mr. 
Hale made his debut on the stage at the age of twenty with the stock com¬ 
pany at the People’s Theatre, St. Paul, Minn. His first years behind the 
footlights were devoted to the support of such stars as Fanny Davenport, 
Sol Smith Russell and Alexander Salvini, with the Kiralfy production of 
“Lagardare” and with stock companies in Atlanta, Ga.; San Francisco, 
Cal.; and Seattle, Wash. It was the season of 1893-94 that Mr. Hale really 
began to attract attention in stage circles, appearing that season with Julia 
Marlowe. The three years following this he was a leading member of the 
Lyceum Theatre Company, appearing in “ The Case of Rebellious Susan,” 
“ Fortune,” “ The Benefit of the Doubt ” and “ The Prisoner of Zenda.” 
Mr. Hale then spent two years as leading man with William H. Crane, being 
cast in “ A Virginia Courtship,” “ His Honor the Mayor,” “ Worth a 
Million ” and “ The Head of the Family,” after which he was in “ A 
Stranger in a Strange Land,” and then played Edmund Burke in “ Oliver 
Goldsmith,” with Stuart Robson. He then spent a season in “ Arizona,” 
followed by a season each as leading support to Mary Mannering in “ Janice 
Meredith ” and Cecil Spooner in “ My Lady Peggy Goes to Town.” Mr. 
Hale passed the season of 1903-04 with the Ada Rehan-Otis Skinner combina¬ 
tion. returning to Mr. Crane’s support the next year in “ Business is Busi¬ 
ness.” The following year he appeared with John Drew in “ De Lancey ”; 
the season of 1906-07, in “ The Judge and the Jury,” with Mr. Crane in “ The 
Price of Money ” and Mr. Crane and Ellis Jeffreys in “ She Stoops to Con¬ 
quer ”; and 1907-08, in “ The Secret Orchard,” with Margaret Anglin in 
her special production of “ The Awakening of Helena Richie ” and in “ The 
Wolf,” at the Bijou and Lyric theatres. 


August 5 


Drina de Wolfe 


TOURING the half-dozen years that Drina de Wolfe has been behind the 
footlights, she has met with more than the ordinary amount of success, 
largely on account of a striking personality, exceptional ambition and 
the fact that with each new role she shows a decided improvement in her 
work. Miss de Wolfe was born in London, England, of American parentage, 
her father being the late Dr. Frank A. Waters. While quite a young girl 
she married Charteris de Wolfe, brother to Elsie of the same ilk, but a 
divorce separated them after a few years. Financial reverses compelled Miss 
de Wolfe to seek the stage door, and she made her debut in England 
in the support of Mrs. Langtry. She was then engaged by John C. Fisher 
to come to America, as a member of the “ Florodora ” sextette, an illness 
preventing her from fulfilling this contract, and it was not until the spring 
of 1902 that she made her debut in this country, appearing at the Garrick 
Theatre in a “ thinking part ” in “ Sky Farm.” A few months later she 
joined the Proctor Stock, playing juvenile roles in such pieces as “ Gloriana,” 
“ The Deacon’s Daughter,” “ Peaceful Valley,” “ Captain Swift,” “ The 
Nominee” and “An Arabian Night.” The season of 1902-03, Miss de 
Wolfe appeared first at Mrs. Osborn’s Playhouse in “ Fad and Folly,” and 
was then with Henry Miller in “ The Taming of Helen.” The following 
season she was with Jessie Millward in “ A Clean Slate,” and created 
Catherine Fulton in “ The Other Girl ” at the Criterion. Miss de Wolfe 
divided the season of 1904-05 between William H. Thompson in “ The Secret 
of Polichinelle ” and with Arnold Daly in “ You Never Can Tell,” and the 
next year she divided her time between “ The Prodigal Son ” and with Mr. 
Thompson in “ The Bishop.” She then played Ann Whitefield in “ Man 
and Superman,” supporting Robert Loraine, and for the past year she has 
not been seen behind the footlights, spending most of her time traveling 
abroad. 



Alfred Kendrick 



r^vURING the single season that Alfred Kendrick played in America, he 
won a large army of admirers, and it seems rather a strange thing that 
ten years have elapsed since his appearance here, yet there is no apparent 
indication of his returning to our shores. It was as leading man with Julia 
Marlowe that we became acquainted with Mr. Kendrick’s work, he being 
the first actor to play opposite her after Robert Taber was dropped from her 
supporting company, this being the season of 1897-98, and many of our 
playgoers will recall with genuine pleasure his effectively romantic work as 
Orlando in “ As You Like It ” and Roger, Marquis Von Sturmell, in “ The 
Countess Valeska,” of which latter he was the original in this country. 
Mr. Kendrick was born in London, educated at King’s College and originally 
intended to become a devotee to the palette and brush. But, as is so often 
the case, a taste of amateur acting gave him a desire for the real thing, 
and he made his debut at the Grand, Islington, March 20, 1890, as Lorenzo 
in “ The Merchant of Venice,” supporting Hermann Vezin. During the 
years that followed Mr. Kendrick was associated with such well-known 
stars as Sir Henry Irving, Sir Charles Wyndham, Edward Terry and W. S. 
Penley. It was after this that Miss Marlowe secured his services. Since 
returning to his native shores, Mr. Kendrick appeared for a time with Ben 
Greet’s company in Shakespearean plays, and for the past few years he 
has appeared almost exclusively in the support of Fred Terry and Julia 
Nielson, playing with them in “ Sunday,” “ The Scarlet Pimpernel,” “ The 
Popinjay” and “Matt of Merrymount.” He is a young actor of most 
pleasing personality, thoroughly at home in leading juvenile parts, and is 
highly popular with the British public. 


ISO 


Billie Burke 


August 7 

■“THOUGH Billie Burke has only been numbered among America’s stage 
favorites for a single season, yet during that time she has made a 
particularly pleasing impression, and it is quite likely that her popu¬ 
larity will grow the longer she remains in our midst. Born in Washington, 
D. C., the daughter of Thespian parents, William E. and Blanche Burke, she 
was educated in France. After leaving school, Miss Burke determined to 
follow in the footsteps of her parents and, being a fluent linguist, she sang 
in all the principal European music halls for several years. She made her 
London debut; at the Pavilion, scoring an immediate success. After 
appearing at Glasgow in the pantomime of “ The Beauty and the Beast,” 
Miss Burke was engaged by George Edwardes to support Edna May in 
‘‘ The School Girl,” at the Prince of Wales’ Theatre, this in May, 1903. She 
then appeared for a long time in the cast of “ The Duchess of Dantzic.” 
The season of 1905-06, she created Evelyn Ormsby in “ The Blue Moon,” 
later returning to vaudeville for a term at the Palace Theatre. The next 
season she played the title role in “ The Belle of Mayfair,” this being her 
last appearance in musical work. In April, 1907, Miss Burke appeared at 
the Adelphi as Miss Perceval in “ Mr. George,” supporting Charles Hawtrey, 
and two months later she was at the Vaudeville with this same star, being 
Madame Polacca Mojeski in his revival of “ Mrs. Ponderbury’s Past.” It was 
her work in these two parts that induced Charles Frohman to bring Miss 
Burke to this country as leading lady for John Drew, making her debut 
at the Empire, August 31, 1907, as Beatrice Dupre in “ My Wife,” her 
archly piquant personality, with a strong note of magnetism, making her a 
favorite at once. 


August 8 F. Anstey 

IT seems a pity that American theatregoers have only been favored wkh 
one play from the pen of F. Anstey, for in that one instance he proved 
to be a past-master of technical skill, an adept at striking character draw¬ 
ing and with a humorous knowledge of the frailty of human nature. The 
play was “ The Man from Blankley’s,” produced at the Criterion Theatre 
on September 16, 1903, and it was one of the smartest, cleverest pieces of 
playwriting seen on Broadway in many a day. Mr. Anstey, whose real name 
is Thomas Anstey Guthrie, is a native Londoner, and was educated at 
King’s College and Trinity Hall, Cambridge. He has written any number 
of novels and short stories, largely in a humorous vein, most of which have 
appeared in Punch. One of his stories, “Vice Versa,” was dramatized by 
the late Edward Rose, the English playwright. But it is through his “ Man 
from Blankley’s” that the theatregoing public have learned to know Mr. 
Anstey best. Mr. Hawtrey first produced the piece in London at the Prince 
of Wales' Theatre, in 1900, and revived it again as recently as the spring 
of 1906, at the Haymarket, where it ran for the greater part of a year. 
So Mr. Anstey should be encouraged to make more frequent efforts as a 
playwright. 



1S1 


Otho Stuart 


August 9 


/^THO STUART has cut a wide swath in the managerial end of British 
theatricals within the past four years, and for sheer courageous artistry 
he has set an exceptionally high standard by a long series of most 
praiseworthy achievements. He has produced any number of high-class, 
legitimate productions, plays of a type that few managers would care to 
venture upon producing, those of exceptional poetic and literary value, and 
he has met with most spirited encouragement from the English public. Mr. 
Stuart is in the happy position of being able to gauge things from the stand¬ 
point of the actor as well as the manager, for he, himself, was a histrion 
for some years, and quite a successful one, too. After a preliminary course 
of study under Hermann Vezin, Mr. Stua'rt began his stage career in 1886, 
beginning as a member of F. R. Benson’s Shakespearean company. He 
remained with the Benson forces several years, gaining the best, legitimate 
training, being notably successful as Oberon in “ A Midsummer Night’s 
Dream.” His next notable engagement was as leading man with Mrs. 
Bernard Beere, touring Australia with her as Loris in “ Fedora,” Joseph 
Surface in “ The School for Scandal,” Young Marlowe in “ She Stoops to 
Conquer,” Charles Courtley in “ London Assurance,” etc. He then returned 
to England and appeared on tour for some time in “ Caste,” “ Liberty Hall ” 
and “ The Masqueraders,” and also re-joined the Benson company. About 
the middle nineties Mr. Stuart married and left the stage, and when next 
he appeared in public it was in a managerial capacity. In 1904, in company 
with the well-known actor, Oscar Asche, he took over the management of 
the Adelphi Theatre, and, during his two years’ occupancy of this house, 
he brought out the following pieces: “The Prayer of the Sword,” “Tris¬ 
tram and Iseult,” “ The Virgin Goddess,” “ The Taming of the Shrew,” 
A Midsummer Night’s Dream,” “ Hamlet,” “ Measure for Measure,” “ Dr. 
Wake’s Patient ” and “ The Lonely Millionaires.” He produced “ Peter’s 
Mother ” at Wyndham’s Theatre in 1906, and the year following he became 
lessee and manager of the Court Theatre, having brought out at this 
theatre: “ Barry Doyle’s Rest Cure,” “ The Incubus,” “ The Phoenix,” 
“ Lady Frederick,” “ Mrs. Hamilton’s Second Marriage ” and “ Mrs. Bill.” 
All in all, Mr. Stuart has made a most notable showing with his various 
ventures, and within a surprisingly short time he made a marked impression 
upon London’s theatrical map. 





Dead is the air and still! the leaves of the locust and walnut 
Lazily hang from the boughs, inlaying their intricate outlines 
Rather on space than the sky—on a tideless expansion of slumber. 


—Bayard Taylor’s “ Home Pastorals.” 


182 


Sallie Fisher 


August 10 


TT'EW of our operatic favorites have enjoyed greater popularity than Sallie 
Fisher, and it is an excellent thing to note that each season finds this 
uncommonly clever artiste not only growing steadily in public affection 
and esteem, but making far greater progress along the lines of artistic 
endeavor. This brainy and ambitious young prima donna, whose past ex¬ 
cellent record is merely indicative of greater future powers, has enjoyed 
a meed of success that many singers 
fail to attain in a career twice the 
length of hers, and the praise that 
has been accorded her, all richly de¬ 
served, too, only acts as an incentive 
to even bigger achievements. Miss 
Fisher, most of whose career has 
been spent within the confines of 
Broadway, is by birth a Western 
girl, born on a ranch in Wyoming. 

Her early youth, however, was spent 
in Salt Lake City, Utah, singing in 
church, concert and amateur opera 
there. But she was anxious for a 
wider field for her talents, and nat¬ 
urally her thoughts turned towards 
a stage career. The result was that 
she made her debut in 1900, singing 
in the chorus of “ The Burgomas¬ 
ter,” followed by a season in “ The 
Chaperons.” These two years gave 
her an excellent preliminary train¬ 
ing, with the result that she began the season of 1902-03 in the leading 
ingenue role of Violet Smilax in “ The Chaperons.” A few weeks in 
this part and she was transferred to the prima donna role of Flora in 
J ‘ The Billionaire,” supporting Jerome Sykes, playing the greater part of 
the season at Daly’s Theatre, and it was this role that firmly established 
her in permanent Broadway favor. Miss Fisher continued in “ The Billion¬ 
aire ” until the death of Mr. Sykes, in December, 1903, when she joined 
the forces of Frank Daniels. She continued as leading woman with Mr. 
Daniels for two and a half seasons, appearing as Euphemia in “ The Office 
Boy ” and Aurora, and later on Lady Bickenhall, in “ Sergeant Brue,” her 
singing of the song, “ Dearie,” in this latter piece winning an amount of 
public approbation such as seldom accorded even our stellar song birds, in 
which same stellar class, by the way. Miss Fisher should soon find herself. 
The season of 1906-07 she divided between Savage’s production of “ The Man 
from Now ” and with Mr. Daniels in “ The Tattooed Man,” and her most 
recent Broadway appearance was at Wallack’s as Muriel Oliver in “ A Knight 
for a Day,” in which she was most happily placed. In the spring of 1908, 
she was seen in Chicago as prima donna in “ A Stubborn Cinderella.” Miss 
Fisher is one of our most modest and unassuming prima donnas, always 
preferring to stand upon her merits as an artiste, and she will unquestionably 
be one of the glories of our operatic stage for many years to come. 



183 




Walter Shannon 


August 1 1 

W ALTER SHANNON is rapidly taking a foremost place among the 
leading operatic favorites on the American stage, and, if one may 
judge from his past efforts, his future certainly seems a roseate one. 
During his short stage career he has gained any amount of most excellent 
experience, embracing such diversified fields as the drama, opera and vaude¬ 
ville, in each of which he has always been a credit 
to himself and upheld an exceptional standard of 
excellence. Mr. Shannon is a Southerner by 
birth and a graduate of the' University of Vir¬ 
ginia. He began his stage career the season of 
1901-02, appearing at the Knickerbocker with 
Maude Adams in “ Quality Street,” followed by 
an engagement with the Dearborn Stock, Chicago, 
and in the original production of “ The Sultan of 
Sulu,” in the same city. Possessing a baritone 
voice of uncommon range and power, of great 
beauty and expression, Mr. Shannon soon found 
his services in great demand in the light-opera 
world, doing specially notable work as principal 
baritone with Mabelle Gilman in “ The Mocking 
Bird.” his portrayal of Eugene De Lorme in this 
opera being highly praised by the critics. Mr. 
Shannon then spent a season on tour at the head 
of his own musical comedy company. Early in 
1905, he went to San Francisco, and, during a 
sojourn of less than six months in that city, he 
gained any amount of good, practical experience, 
playing with the Alcazar Stock in “ Old Heidel¬ 
berg,” with the Tivoli Opera Company as Arthur 
Donegal in “ Florodora ” and with the Central 
Theatre Stock in a round of melodramas such as, “ The Holy City,” “ A 
Prisoner of War,” “ A Fight for Millions,” “ The Night Before Christmas,” 
“A Ride for Life,” “Why Women,Sin,” “A Texas Steer,” “Faust” and 
“ Hearts Adrift.” Since that time Mr. Shannon has been one of the lead¬ 
ing lights on the vaudeville stage, accompanied by Beatrice McKenzie, 
offering short musical sketches, their most recent effort being “ Stop the 
Ship,” in which his beautiful singing voice was heard to exceptional ad¬ 
vantage. Mr. Shannon is a tremendously clever and ambitious young fellow, 
and the success of his future is now an assured fact. 



Hi* Hi* 


But see, the shepherds shun the noonday heat, 

The lowing herds to murmuring brooks retreat; 

To closer shades the panting flocks remove, 

Ye gods ! and is there no relief for love? 

—Pope’s “ Summer.” 


184 




Connie Ediss 


August 1 1 

A MONG the many English importations to the American stage within 
the last few years, none have met with a heartier or more cordial 
greeting than Connie Ediss. This winsome, magnetic comedienne, with 
her delightful sense of humor, is one of the brilliant stellar lights that 
surround Lew Fields in “ The Girl Behind the Counter,” and her per¬ 
sonal success in the role of Mrs. Schniff in this piece has been one of the 
pleasant surprises of the theatrical 
season of 1907-08. A Londoner by 
birth, Miss Ediss made her stage 
debut at the age of twelve in “ Un¬ 
der the May Pole ” at the Aquarium, 
after which she was a great favorite 
in the music halls for several years, 
being billed in those days as Connie 
Coutts. One night her work was 
observed by Ted Marks, the Ameri¬ 
can manager, and so impressed was 
he by her cleverness that he per¬ 
suaded George Edwardes to give her 
a trial at the Gaiety Theatre. She 
went on for a single performance at 
the Gaiety, acting as successor to 
Lillie Belmore in the part of Ada 
Smith in “ The Shop Girl,” and 
her success was instantaneous and 
tremendous, being retained as prin¬ 
cipal comedienne of the Gaiety 
forces. It was in this same piece 
that Miss Ediss made her debut before an American audience, appear¬ 
ing at Palmer’s Theatre the season of 1895-96, and her singing of the 
ditty, “ A Strawberry Mark in the Middle of My Back was All I Got 
from Father,” proved one of the big sensations of the day. She returned 
to London the year following, and for eleven consecutive seasons was 
practically the most conspicuous figure in the musical comedy world in the 
British capital, her list of personal triumphs crowding fast one upon the 
other. Her most notable successes during this long period were as Lady 
Tom in “ My Girl,” as Mrs. Drivelli in “ The Circus Girl,” as Carmenita 
in “ The Runaway Girl ” (and Londoners still talk of her singing the song, 
“Oh, I Love Society,” in this piece), as Mrs. Bang in “The Messenger 
Boy” (where her “It All Comes Out in the Wash” proved another musical 
gem), as Bella Jimper in “ The Silver Slipper,” as Mrs. Malton Hoppings 
in “ The Toreador,” as Caroline Vokins in “ The Orchid,” as Mrs. Girdle in 
“ The Spring Chicken ” and as the Spirit of the Ring in “ The New 
Aladdin.” With the exception of “ The Silver Slipper,” in which she 
played at the Lyric Theatre, in all of the above pieces, Miss Ediss ap¬ 
peared exclusively at the Gaiety, and her name has become a household 
word with the patrons of that playhouse. Early in 1907, she made a brief 
•tour of South Africa and then came to America to join Mr. Fields’ forces. 
Inimitable and jolly comedienne that she is, Miss Ediss’ success in America 
has merely proven that her type of humor makes an equally strong appeal 
upon either side of the Atlantic, and few players there are who can boast 
greater popularity or a larger following. 






Pauline Frederick 


August 1 2 

W HAT a pleasing thing it is to note the advancement and progression 
of so young and clever a girl as Pauline Frederick. Only five years 
before the public, over half of which time she has been an acknowledged 
leading woman, this beautiful and brainy girl may felicitate herself upon 
the success and position she now enjoys, and it is all the more deserved 
because of her laudable ambitions and her determination to reach the very 

highest possible goal. Miss Freder¬ 
ick is a Boston girl by birth and, 
more for the fun of the thing, she 
made her first appearance behind the 
footlights April 21, 1902, by singing 
ballads at the Boston Music Hall, 
being the possessor of a sweet 
mezzo-soprano voice. This brief 
touch of theatricals decided her life 
work, and the season of 1902-03 

found her enrolled as a member of 
“ The Rogers Brothers in Harvard.” 
The following season Miss Frederick 
created the role of Titania in “ A 
Princess of Kensington,” and shortly 
after the opening was promoted to 
the ingenue role of Joy Jellico in 
this piece. She then joined the 
forces of Lew Fields and was a 

member of his company for a con¬ 
siderable length of time, appearing 
in “ It Happened in Nordland,” and 
once again she had the happy experience of advancing from slight op¬ 
portunities into the centre of the stage, succeeding Blanche Ring as lead¬ 
ing woman with Mr. Fields. All of which was greatly to be commended, 
but Miss Frederick was dreaming the while of achieving a much higher 
goal, one in the realm of the drama, in which direction she truly be¬ 
lieves her talents will have the best outlet. She was fortunate at this 
period in her career to come under the notice of James K. Hackett and he, 

aware of the potent quality of her work, gave her the leading role in two 

of his most important productions, “ The Little Grey Lady ” and “ The Girl 
in White.” Miss Frederick then mounted the histrionic ladder many rungs 
by placing her signature to a long term contract with Charles Frohman, and, 
during the season of 1907-08, she played no less than three leading parts 
under his management on Broadway, with Francis Wilson in “ When 
Knights were Bold,” in “ Twenty Days in the Shade,” at the Savoy, and in 
“ Toddles,” at the Garrick. Miss Frederick, considered upon all sides to 
be one of the most beautiful women on the stage, rich in the glories of 
youth and beauty, with all possible power before her, will surely prove a 
figure of most worthy note in to-morrow’s stage history, and a very likely 
thing it is that she will soon be found enrolled under Mr. Frohman’s banner 
of stars. 



186 





August 1 3 Jane Corcoran 

A YOUNG star who enjoys great popularity on that part of the theatrical 
map known as “ the road,” Jane Corcoran has been in stage harness 
the greater part of her life, and will some day probably win the atten¬ 
tion of effete Broadway theatregoers, if given a worthy sort of a play. A 
daughter of the well-known California actress, Estha Williams, it was in the 
city of San Francisco that Miss Corcoran came into the world. She had 
considerable experience as a child actress in the West, afterward coming 
East to enter the Institute of Holy Angels at Fort Lee, N. J. Upon the 
completion of her school days, Miss Corcoran took up her stage work again, 
playing Tennessee in “ Tennessee’s Pardner,” under the direction of her 
stepfather, Arthur C. Aiston. She played this part two years, and then 
came a season divided between “ A Stranger in a Strange Land ” and “ Mile. 
Fifi.” After this came two more seasons in “ Tennessee’s Pardner.” The 
season of 1901-02, Miss Corcoran created the part of Annabel Thornton in 
“ At the Old Cross Roads,” after which she became the wife of J. Emmet 
Baxter, a Brooklyn business man, and the stage knew her not for a year. 
But Miss Corcoran comes of theatrical stock, and, after a season’s retirement, 
she again played her original role in “ At the Old Cross Roads.” The season 
of 1904-05, she entered the ranks of stars, and appeared for two years in 
“Pretty Peggy” and for one season in “The Freedom of Suzanne.” In 
the spring of 1907, she played Cynthia Garrison in “ The Man of the Hour ” 
for a brief time, later going to London with Grace George to play Josepha 
in “ Divorqons.” Miss Corcoran, the season of 1907-08, starred on the 
road as Nora in “ A Doll’s House.” 


August 1 4 Elsie Leslie 

•“THROUGH lack of opportunity, rather than a lack of histrionic talent, 
*■ Elsie Leslie has scarcely fulfilled the promise of her early childhood 
days, but as she is still a very young woman, with her best years yet 
before her, there is every reason to believe that she will some day accomplish 
something really worth while behind the footlights. She is such an irre¬ 
sistibly pretty girl, of a delicate, high-bred type of beauty, that one cannot 
help but wish that her stage chances were in like proportion to her most 
generous pulchritude. Miss Leslie was born in New York City, the daughter 
of B. Tanner Lyde, and, when away from the footlights, she gained her 
schooling at the hands of private teachers, both here and abroad. She made 
her stage debut when a youngster of five, playing little Meenie in “ Rjp Van 
Winkle,” supporting Joseph Jefferson, and the next year she continued in 
the support of the same star in the same play, only this season she played 
the boy part of Hendrick. The season of 1887-88, Miss Leslie played Editha 
in “ Editha’s Burglar,” supporting E. H. Sothern, and the next season 
she created a positive furore by her work as “ Little Lord Fauntleroy.” She 
then played the dual roles in “ The Prince and the Pauper ” for three years, 
after which she left the stage to complete her studies. Miss Leslie resumed 
her stage work again the season of 1898-99, and for three years she was 
most happily placed in Joseph Jefferson’s company, playing Lydia Languish 
in “ The Rivals ” and Dot in “ The Cricket on the Hearth.” She then 
co-starred one season with Edward J. Morgan in “The Christian.” After 
this the stage knew her not for five years, she having married Jefferson 
Winter, son of the well-known critic, William Winter, on August 27, 1901. 
It was the season of 1907-08 that Miss Leslie made her let-us-hope-to-be- 
permanent return to the footlights, being leading lady with Jameson Lee 
Finney in “ The Man on the Case ” and “ The Man on the Box.” 


187 


Ethel Barrymore 


August 1 5 

E THEL BARRYMORE now ranks with the most popular stars on the 
American stage, and, upon the strength of exceptional beauty, a wonder¬ 
ful personality and an acting talent that is constantly growing and devel¬ 
oping, she has become one of the most notable stage figures in this country 
to-day. Though popular and successful in every sense, she has by no means 
reached her best powers yet, being still under thirty, and there can be no 

question that hers is a future that 
will place her name among the really 
great in Stageland. Miss Barry¬ 
more was born in Philadelphia, the 
daughter of Maurice and Georgie 
(Drew) Barrymore, sister to Lionel 
and John of the same name, niece to 
John Drew and first cousin to Lou¬ 
ise Drew and Georgia Mendum. She 
spent her babyhood in England with 
her parents, returning to America 
with them when a child of seven, 
and received her schooling at the 
Convent of Notre Dame in Philadel¬ 
phia. She made her debut on the 
stage January 25, 1894, in the sup¬ 
port of her grandmother, Mrs. 
John Drew, playing Julia in “ The 
Rivals.” The season of 1894-95, she 
joined her uncle’s company, with 
whom she remained three years, 
playing Kate Fennell in “ The Bau¬ 
ble Shop,” Katherine in “ That Imprudent Young Couple,” Nellie Colt 
in “ Christopher, Jr.,” and Priscilla in “ Rosemary.” Miss Barrymore 
went to London in the spring of 1897, and on May 15th she was seen 
at the Adelphi Theatre as Miss Kittridge in “ Secret Service,” supporting 
William Gillette. She remained in London all of the next season, playing 
in Sir Henry Irving’s company, as Annette in “ The Bells ” and Euphrosine 
in “ Peter the Great.” She then returned to America and divided the season 
of 1898-99 between Annie Russell in “ Catherine ” and John Drew in “ The 
Liars,” being featured on tour the following season as Stella de Gex in 
“ His Excellency the Governor.” Miss Barrymore made her debut as a star 
the season of 1900-01, presenting “ Captain Jinks of the Horse Marines,” 
which lasted her two seasons, and since then her stellar vehicles have been 
“ Carrots,” a one-act play, and “ A Country Mouse,” 1902-03; “ Cousin 
Kate,” and a short season in London in “Cynthia,” 1903-04; “Sunday” and 
“A Doll’s House,” 1904-05; “Alice Sit-by-the- Fire,” 1905-06; “The Silver 
Box,” and revivals of " Captain Jinks,” “ His Excellency the Governor ” 
and “ Cousin Kate,” 1906-07; and “Her Sister,” 1907-08. In all of these 
Miss Barrymore shone forth brilliantly, doing probably her best dramatic 
work in “ A Doll’s House,” “ The Silver Box ” and “ Her Sister.” She 
is a remarkably interesting figure on the dramatic horizon, and her to¬ 
morrows are filled with rich promise of great dramatic development. 



188 




Arthur Forrest 


August 16 


A RTHUR FORREST has long been held in high esteem as one of 
the very cleverest of our leading men, a position that he has gained by 
a large number of excellent portrayals in many Broadway productions, 
and he has maintained an acting standard of which he may indeed be 
proud. His career has been an exceptionally active one, full of many and 
varied experiences, and he has never been identified with any save the very 
best class of attractions. Many years ago he was a member of Wallack’s 
company, appearing in “ Taken from Life,” and was with Agnes Booth in 
“ That Man.” Coming down to more recent times, or within the past 
fifteen years, Mr. Forrest has been seen in the following engagements, 
among others: a long starring tour in “ Captain Swift,” with Annie Russell 
in “ The New Woman,” Rose Coghlan in “ Madame,” Sol Smith Russell 
in “ A Bachelor’s Romance,” as Petronius in the original Whitney and 
Knowles production of “ Quo Vadis,” in “ The Price of Peace,” at the 
Broadway; with the Lyceum Theatre Company in “ Wheels Within Wheels ” 
and “ Lady Huntworth’s Experiment,” with Henrietta Crosman in “ As 
You Like It,” Grace George in “Abigail,” Alice Fischer in “The School for 
Husbands,” Otis Skinner in “ His Grace De Grammont,” Alla Nazimova 
in “ The Comtesse Coquette ” and with Richard Mansfield, appearing in 
the support of this actor for over five years, with various intervals, a few 
of his roles being, Bassanio in “ The Merchant of Venice,” General Bur- 
goyne in “ The Devil’s Disciple,” Henry De Targy in “ A Parisian Ro¬ 
mance,” Friedhelm Helfen in “ The First Violin,” the Comte de Guiche in 
“Cyrano de Bergerac,” Marc Antony in “Julius Caesar,” Boris in “Ivan 
the Terrible,” the Duke of Buckingham in “ Richard III.” and the dual 
roles of the Strange Passenger and the Button Molder in “ Peer Gynt.” 
The season of 1907-08, Mr. Forrest was first leading man with Henry Lud- 
lowe in “The Merchant of Venice” and “Richard III.,” after which he 
joined the forces of Mrs. Fiske, replacing Bruce McRae as John Rosmer 
in “ Rosmersholm.” This last engagement proved an odd turn of the 
theatrical wheel, for just twenty-four years ago, or in August, 1884, he was 
seen with this same actress, then known as Minnie Maddern, as Jack in 
“ Caprice.” Mr. Forrest, by the dignity and sincerity of his work, has 
accomplished an uncommonly fine number of personal triumphs on the 
American stage, and he has met with every appreciative encouragement at 
the hands of our theatregoing public. 




•i 


In lang, lang days o’ simmer, 
When the clear and cloudless sky 
Refuses ae wee drap o’ rain 
To Nature parched and dry, 

The genial night, wi’ balmy breath, 
Gars verdure spring anew, 

An ’ ilka blade o ’ grass 
Keps its ain drap o’ dew. 


—Ballantine. 


189 


August 1 7 Barney Bernard 

D ARNEY BERNARD has become rather a conspicuous Broadway favorite 
within the past year, and as a Jew comedian he appears to have made 
a lasting impression upon New York theatregoers. He had served rather 
a faithful apprenticeship on the road for a number of years, and it is most 
gratifying to him to be an accepted favorite at last in the metropolis. Born 
in Rochester, N. Y., Mr. Bernard, like many of our operatic comedians of 
to-day, devoted his early years behind the footlights to the field of burlesque, 
his last appearance in this line of endeavor being the season of 1900-01, 
when he was a leading light with Fred Irwin’s Big Show, appearing in part¬ 
nership with Billy W. Watson. The season following he appeared on tour 
in David Warfield’s original role in “ Fiddle-Dee-Dee.” In the spring of 
1902, Mr. Bernard went to San Francisco, and joined the musical stock com¬ 
pany at Fischer’s Theatre, where he remained eighty-nine consecutive weeks, 
during which time he was seen in “ Fiddle-Dee-Dee,” “ Pousse Cafe,” 
“ Hurly Burly,” “ Whirl-I-Gig,” “ The Geezer,” “ Barbara Fidgety',” “ Hoity 
Toity,” “ Helter Skelter,” “ Twirly Whirly,” “ The Glad Hand,” “ The 
Paradcrs,” “Rubes and Roses” and “I. O. U.” Mr. Bernard then joined 
the American Travesty Stars, to present this same style of entertainment 
in Australia. But after a few months in the antipodes, he returned to ’Frisco, 
and starred in a comedy entitled, “ The Financier,” and was with the Bishop 
Stock in “ His Honor the Mayor ” and “ Humbug.” Mr. Bernard became 
identified with Eastern theatricals again, in the fall of 1906, appearing on 
tour in “ The Rollicking Girl,” and, 1907-08, he was seen in New York City 
exclusively, at the Circle Theatre in both “Across the Pond” and “Two 
Islands,” at the New York in “ The Soul Kiss” and at the Jardin de Paris in 
“ The Follies of 1908,” surely a busy and energetic season. 


# 4 * 


August 19 Fred A. Stone 

E^RED A. STONE enjoys a tremendous vogue with our theatregoing public, 
* and as a comedian and dancer he is certainly entitled to all manner of 
praise and admiration. There are very few upon our stage to-day who 
can in any way approach him as a dancer, he being practically in a class 
by himself, and he deserves every possible commendation for his skill in this 
direction. Mr. Stone was born in Denver, Col., and received his schooling 
in Topeka, Kan. He began his public career in 1884, being a mere youngster 
at the time, in Topeka as an acrobat in Spicer’s Circus. Two years later 
he was a member of the Sells-Renfrew Circus, after which he played Topsy 
in “ Uncle Tom’s Cabin,” under canvas, with Dick Sutton, through the West. 
Mr. Stone met David Montgomery in 1894, and they formed a partnership 
to do a blackface act in vaudeville. They flourished in this field for six 
years, being especially popular over the Keith circuit. They ventured an 
appearance in London in 1900, and enjoyed great favor at the Palace Theatre, 
being recalled to this country late in that year to support Edna May in 
“ The Girl from Up There,” Mr. Stone being cast for the part of Christopher 
Grunt. After a return to London and an appearance in a Liverpool panto¬ 
mime, Mr. Stone returned to the United States, in the spring of 1902, and 
scored a tremendous success as the Scarcrow in “ The Wizard of Oz.” After 
four years in this part and being showered with praise upon all sides, Mr. 
Stone and Mr. Montgomery fared forth as co-stars in “ The Red Mill,” and 
their huge success in this piece is now a part of stage history. Mr. Stone’s 
abilities as an entertainer need no eulogy here, his talents are too thoroughly 
well known and appreciated for that now, and a fine thing it is to note 
the praise and adulation with which he is greeted upon every side. 


190 


August 20 Julia Sanderson 

F^EW of our present-day stage favorites have come to the fore with any 
*■ greater degree of speed than Julia Sanderson, she who was unknown to 
fame five years ago and is to-day an acknowledged leader in the world 
of light opera and musical comedy. The daughter of theatrical parents, her 
father being Albert Sackett, a well-known character actor, Miss Sanderson 
was born in Springfield, Mass., receiving her education there and in Phila¬ 
delphia. She made her first appearance on the stage with the Forepaugh 
Stock Company, Philadelphia, of which organization her father was a lead¬ 
ing member, playing small bits. After a couple of seasons in these surround¬ 
ings, she decided to abandon the dramatic stage for that of light opera, 
joining the chorus of “ Winsome Winnie,” supporting Paula Edwardes, in 
the fall of 1903. One night, owing to the star’s absence from the cast, Mis <; 
Sanderson played the title role, and made such a pronounced success that 
she was immediately transferred to the leading role of Mrs. Pineapple in “ A 
Chinese Honeymoon.” A few months later she was playing Mataya in 
“ Wang,” in the support of De Wolf Hopper. The two years following 
this she was seen with Jefferson De Angelis in “ Fantana,” at first playing 
the part of Elsie Sturtevant and later on the title role, and then came a 
season divided between the leading part in “ The Tourists ” and a term as 
a vaudeville headliner. The season of 1907-08, Miss Sanderson played 
Peggy in “ The Dairymaids,” which marked a happy debut under Charles 
Frohman’s management. 


August 21 


Henry Ainley 


C LASSIFIED with the very best of England’s younger set of leading men, 
Henry Ainley enjoys every possible meed of public approval in London, 


and his position is one of unquestioned eminence in British theatricals. 
Born in Leeds, and originally engaged in the banking business, Mr. Ainley 
began his stage career in the late nineties as a member of F. R. Benson’s 
Shakespearean company. He made his London debut in 1900 with Lewis 
Waller in “ Henry V.,” and thereafter his services were in great demand 
upon every side. He was seen in the support of George Alexander for a 
long time, playing in “ Paolo and Francesca,” “ If I were King ” and “ Old 
Heidelberg,” after which he was with Beerbohm Tree in “ Flodden Field.” 
Mr. Ainley made his debut on the American stage the season of 1903-04 as 
leading man with Maude Adams, being cast for Sebastian in “ The Pretty 
Sister of Jose ” and Gavin Dishart in “ The Little Minister.” Since his 
return to England, his principal engagements have been as follows: 1904, 
with Eleanor Robson in “ Merely Mary Ann ” ; 1905, with Tree in “ Trilby,” 
Tita Brand in “ Othello,” Weedon Grossmith in “ The Duffer,” Forbes 
Robertson in “ The Conqueror ” and “ For the Crown,” and William Mollison 
in “ Beside the Bonnie Briar Bush ” ; 1906, with Mr. Mollison in “ As You 
Like It,” Lena Ashwell in “ The Bond of Ninon ” and “ The Shulamite,” 
the Waller-Irving revival of “ Othello,” in “ You Never Can Tell ” and 
“ The Bondman ” ; 1907, the title role in “ Raffles,” with John Hare in “ The 
Great Conspiracy,” in the revival of “ A Royal Family,” with Edward Comp¬ 
ton in “ The Eighteenth Century ” and “ The School for Scandal,” and with 
Oscar Asche and Lily Brayton in “ As You Like It ”; 1908, and until the 
end of March, the title role in “ Stingaree, the Bushranger,” and with Cyril 
Maude in “ Marjory Strode.” A mere glance at this list will tend to show 
in what high public and managerial favor Mr. Ainley is held in his native 
country. 


191 


August 22 


Harold Howard 


A YOUNG actor whose name has figured prominently on New York play¬ 
bills, especially in the Belasco productions, Harold Howard has made 
quite a name for himself by a long series of consistently good per¬ 
formances, being thoroughly painstaking and sincere in all his work, and his 
future should bring forth results of only a worthy nature. Born at Rutland, 
Vt., and educated at St. John’s College, Mr. Howard began his stage career 
in 1892 in Charles Frohman’s production of “ Aristocracy,” later appearing 
under this same manager as Sir Richard Cursitor in “Sowing the Wind” 
and Jimmie Stokes in “ The Masqueraders.” He joined the Belasco forces 
the season of 1898-99, appearing exclusively in the support of Mrs. Leslie 
Carter for five years, playing Blac in “ Zaza ” and De Courcel in “ Du 
Barry.” The season of 1904-05, Mr. Howard first succeeded Jameson Lee 
Finney as Picard in the star-cast of “ The Two Orphans,” later appearing 
with Mrs. Le Moyne in Browning’s “A Blot on the ’Scutcheon.” He re¬ 
turned to the Belasco fold the following season, again supporting Mrs. 
Carter, but being cast for far more important roles: the Due de Brissac 
in “Zaza,” the Due de Richelieu in “Du Barry” and the Holy Negar in 
“ Adrea,” appearing with David Warfield the season following as Mr. 
Ditson in “ The Music Master.” The season of 1907-08, Mr. Howard ap¬ 
peared first with Mrs. Patrick Campbell, as stage director for her extensive 
repertoire, and was then in vaudeville as principal support to Howard 
Esterbrook and Gretchen Dale in a dramatic sketch. Mr. Howard may 
pride himself upon the dignity and exceptionally high professional standard 
he has maintained during his stage career. 







Williams 


T 7 RITZ WILLIAMS flourished triumphantly for a number of years as a 
* juvenile acitor, and nowadays as a player of high comedy roles he has 
few peers upon our stage. There is a facile ease about his acting that 
is particularly pleasing, and no actor is more thoroughly at home behind 
the footlights than he. Mr. Williams was born in Boston, his father, Fred 
Williams, having been an actor before him, and he is a graduate of St. 
John’s College, Fordham, N. Y. Though he had some slight stage experience 
as a child actor, his real debut occurred April 23, 1884, as Anatole in “ A 
Scrap of Paper,” with Wallack’s company. He remained at Wallack’s all 
of the next season, after which he spent three years in the support of Dion 
Boucicault in Irish plays, and for one season was leading man in Arthur 
Rehan’s company. Mr. Williams became a member of the Lyceum Theatre 
Company the season of 1889-90, and he remained with this organization seven 
consecutive years, scoring notably in “ The Charity Ball,” “ The Grey Mare ” 
and “ The Amazons.” In the spring of 1896, he was seen at the Garrick 
in “ Thoroughbred.” Beginning with the season of 1896-97, and for five 
years in all, Mr. Williams was identified with a long series of French 
farces: to wit, “ The Liar,” “ Never Again,” “ On and Off,” “ Make Way 
for the Ladies,” “ Coralie and Co., Dressmakers,” “ The Husbands of 
Leontine,” “ Self and Lady ” and “ The Lash of a Whip.” He then dis¬ 
played surprising versatility by a dash into musical comedy, appearing a 
season with Weber and Fields in “ Hoity Toity.” He spent the season of 
1902-03 with the Empire Theatre Company in “ The Unforeseen,” and the 
season following was first in “ A Japanese Nightingale,” then in “ Little 
Mary” and finally in “The Sho-Gun,” in Chicago. He passed the next two 
seasons respectively with William Faversham in “ Letty,” and in “ Before 
and After.” Mr. Williams’ most recent work was, 1906, with Lulu Glaser in 
“ The Aero Club ” and, 1907, in the Cohan and Harris production of “ Fifty 
Miles from Boston.” 


192 


August 24 


Henry W, Garrick 


I TENRY WALTER GARRICK is a leading figure in London’s jour- 
nalistic world and is closely in touch with all matters theatrical, having 
devoted the greater part of his career to writing about the stage and 
its people. As might be expected from one allied with the theatre and 
named Garrick, he is a direct descendant of the only David, his father being 
descended from George Garrick, a brother of David, and, oddly enough, 
his paternal parent is named David, too. The Garrick, with whom this 
sketch deals, has been actively engaged in the newspaper business for a 
number of years, beginning in the humble capacity of a printer’s “ devil ” 
and has worked his way, through many successive stages, into the position 
of press representative of the famous London Hippodrome. He was private 
secretary to the distinguished critic, Clement Scott, for a number of years, 
and in this way came into contact with many theatrical celebrities. He also 
served as assistant to Austin Brereton for a time. It was in 1899 that Mr. 
Garrick became associated with the Hippodrome, and he has handled the 
press end of this amusement place ever since, being highly successful in 
this position. In addition to this he writes most entertainingly for many of 
the leading English papers and magazines. Rather coincidentally, both 
Mr. Garrick and Max Beerbohm were born on the same date, the former 
preceding Mr. Beerbohm with his earthly debut by just a year, and an 
odd thing it is that they should both make names for themselves in Eng¬ 
land in much the same field of endeavor, writing upon stage topics. Mr. 
Garrick enjoys considerable favor with the reading public and he has quite 
a large following of admirers. 






V/VONNE DE TREVILLE has made a tremendous impression in Euro- 
* pean operatic circles during the last few years, and it is not beyond 
the pale of probability that she may be heard either at the Metro¬ 
politan or Manhattan opera houses in this country ere many more seasons 
have passed. As many people may easily recall, however, she is by no 
means a stranger to American operatic affairs, having sung in English opera 
in this country for a long time before invading foreign territory. Miss de 
Treville is an American girl, born in Galveston, Texas, her father being 
French and her mother American. She developed a taste for music when 
a very young girl, and was sent to Paris to study under Madame Marchesi, 
being the youngest member of her class. She also became a most pro¬ 
ficient harpist. Upon the completion of her studies abroad, Miss de Treville 
returned to America, and made her debut at the Casino, March 1, 1897, 
as prima donna in “ La Falote,” of unhappy memory. A few months later 
she sang in the opera, “1999,” in Philadelphia, and then did considerable 
concert and oratorio work, joining the Castle Square Opera Company in 
the spring of 1898. She was a member of this organization two years, sing¬ 
ing in New York and Philadelphia, her repertoire consisting of Marguerite, 
Leonora, Lucia, Aida, Juliet, Mimi, Elsa, Eva in “ Die Meistersinger,” etc. 
Miss de Treville went abroad in the summer of 1900, and has remained on 
the other side ever since, singing in all the leading opera houses on the 
continent—in France, Italy, Germany Russia, Switzerland and Austria. Her 
repertoire has now attained huge proportions, and she has sung in different 
parts of the world in no less than ten languages. Miss de Treville has met 
with a wonderful amount of success in her chosen career, and it only 
remains for her now to conquer the effete grand opera public of London 
and New York—which she doubtless will ere long. 


103 


August 26 


Virginia Buchanan 


\ 7 IRGINIA BUCHANAN has figured in New York theatricals for over 
* forty years, and nowadays, as an actress of grande dame and character 
roles, she upholds a most excellent standard, a» proof of the admirable 
training she received in her younger days. Her father, McKean Buchanan, 
was a well-known Shakespearean actor in his day, and it. was through 
him that she learned much of the art of acting, appearing in his support 
in such roles as Desdemona, Ophelia, Pauline, Julie de Mortimer, etc. Then 
came considerable experience in various stock companies, after which Miss 
Buchanan created the role of ‘Margaret Dalrymple in “ Our Boarding 
House,” in 1877, and was identified with this part for five years. After 
rather brief appearances with both John E. Owens in “ That Man from 
Cattaraugus ” and Mr. and Mrs. George S. Knight in “ Baron Rudolph,” 
she joined the forces of Clara Morris and appeared in her support for a 
long time. She was then seen with the Madison Square Theatre Company 
for several years, playing in “Our Society,” “Jack,” “Partners,” etc., 
afterward appearing with Tomasso and Alexander Salvini in their elab¬ 
orate repertoire. Since 1891 Miss Buchanan has appeared with the fol¬ 
lowing stars and productions, among many others, this list being selected 
without relation to any particular continuity: with Henry E. Dixey in “ The 
Solicitor” and “The Man with a Hundred Heads”; with John Drew in 
“The Masked Ball,” “That Imprudent Young Couple” and “Christopher, 
Jr.”; with Charles Dickson in “Willie”; with E. S. Willard in “The 
Rogue’s Comedy,” “ The Middleman ” and “ The Professor’s Love Story ”; 
in the special productions of “ A Puritan Romance,” “ A Tarrytown Widow ” 
and “ Unleavened Bread ” ; with W. H. Thompson in “ The Bishop’s Move 
Mrs. Le Moyne in “ Lady Barinthea’s Secret ”; Ethel Barrymore in “ Sun¬ 
day ”; and with James K. Hackett in “ Rupert of Hentzau,” “ The Pride of 
Jennico,” “ Don Caesar’s Return,” “ A Chance Ambassador ” and “ The 
House of Silence.” No further proof of Miss Buchanan’s ability is needed 
than the above list of splendid engagements that have fallen to her lot, 
and in each of these she maintained an acting standard of which any actress 
might be proud. 





Johnson 


' I ’HIS is certainly the age of the new playwright, and the struggling 
* nonentity of to-day is likely to burst forth in effulgent footlight fame 
within a single night. The theatrical season of 1907-08 was especially 
prolific in the number of new names added to our list of dramatists, one 
of the most conspicuous of these being Owen Johnson, a young man who 
apparently believes in calling a spade by its right name, no matter what the 
cost. We have had only one play from his pen so far, but that was of a 
calibre to assure us that he is merely awaiting the chance to offer us another 
of an equally erotic theme. Mr. Johnson is a native of New York City, 
and was educated at Lawrenceville (N. J.) and Yale College. He has been 
a devotee to literature since his early youth, and has written three novels— 
“ Arrows of the Almighty,” “ In the Name of Liberty ” and “ Max Fargus,” 
—not to mention numerous short stories. Mr. Johnson’s single contribution 
to stage literature has been “ The Comet,” produced at the Bijou Theatre, 
December 30, 1907, by Madame Nazimova, and which attracted widespread 
attention, causing much talk and discussion, pro and con, but little financial 
flurry. The play was frankly modeled after the Ibsen school, and as such 
it made quite an appeal to those who claimed to understand it. At any 
rate, Mr. Johnson derived a great deal of publicity out of it, and we are 
now eagerly on the outlook for his second play. 


194 


Lalla Selbini 


August 28 

A TALENTED and versatile girl is Lalla Selbini, she of the wondrous grace 
and beautiful face and figure. Her name has become a synonym for 
all the graces in woman’s calendar, and a just homage, too, when one 
considers her youth, beauty and striking personality. Miss Selbini is one 
of the leading lights in the vaudeville world, and she has won a position 
almost unique in itself by the originality and uncommon cleverness of her 
act. For a number of years she was a reigning 
favorite in all the foreign music halls and her 
name and following extended throughout Eng¬ 
land, France, Germany, Russia, South Africa, 

Egypt and Australia. It was the summer of 
1906 that she made her bow before an Ameri¬ 
can audience, appearing at Hammerstein’s Vic¬ 
toria Roof Garden, being happily billed as “ The 
Bathing Beauty,” and so enormous was her vogue 
that she reigned triumphant throughout the en¬ 
tire summer, playing sixteen consecutive weeks, 
a run far greater than that enjoyed by any other 
performer. Since then she has toured all over the 
United States, playing the leading vaudeville 
houses from the Atlantic to the Pacific, and she 
proved the sensation of the hour in each city 
she visited. A woman of exceptional mental 
qualities, with a deep thirst for knowledge, Miss 
Selbini is a fluent linguist and is the mistress 
of four languages, though she even proposes to 
add to this number as time goes on. A further 
evidence of her gray matter, she composes all 
of her own songs, makes her gowns (and very 
handsome and striking they are, too), designs 
and paints her own scenery, and has complete 
charge and direction of her vaudeville offering. And an added word for 
her rightful claim to being a true daughter of Venus, Miss Selbini was 
selected as the model for all the decorations in the Manhattan Opera House. 
Small wonder she is called talented, versatile and beautiful. Assured suc¬ 
cess is a fine thing in its way, but to a woman of Miss Selbini’s mental 
calibre it merely acts as an incentive to achieving bigger things. She has 
won conspicuous note in her own particular line, and it is greatly to her 
credit that she is not content to rest satisfied with her present condition. 
Lalla Selbini is a worthy exponent of the modern-day woman of brains 
and ambition, and richly deserves all the success possible. 



• 4 * # 




The summer dawn’s reflected hue 
To purple changed Loch Katrine blue, 
Mildly and soft the western breeze 
Just kissed the lake, just stirred the trees, 
And the pleased lake, like maiden coy, 
Trembled but dimpled not for joy. 


—Scott. 



Mabel Roebuck 


August 29 

M ABEL ROEBUCK, a leading woman of infinite charm and most at¬ 
tractive personality, one seen all too seldom upon the New York stage, 
has bravely fought her way into the front ranks of our most promis¬ 
ing actresses, and, excellent though her past record has been, her future 
work will unquestionably reveal greater powers, those that can only come 
with added years and experience. This talented young actress has always 

been fortunate in being associated with com¬ 
panies of the very best sort, and this excellent 
training has merely aided her to develop more 
quickly the gifts that were hers at the start. A 
native* New Yorker, Miss Roebuck made her stage 
debut the season of 1896-97 as a member of 
Augustin Daly’s company, her first role being 
Phoebe in “ As You Like It.’’ She remained with 
Mr. Daly’s organization until his untimely death, 
being cast in such productions as “ The School 
for Scandal.’’ “ The Country Girl,” “ Subtleties of 
Jealousy,” “ The Merchant of Venice,” “ Madame 
Sans Gene ” and “ The Great Ruby.” The sea¬ 
son of 1899-00, when Ada Rehan starred under 
Klaw and Erlanger, Miss Roebuck played all the 
leading roles in that actress’ repertoire, Celia in 
“As You Like It,” Lady Sneerwell in “The 
School for Scandal,” Bianca in “ The Taming 
of the Shrew ” and Alithea in “ The Country 
Girl.” Miss Roebuck then played a number of 
important parts in the support of E. S. Willard, 
including the creation of the heroine, Therese, 
in ■' The Optimist,” played in the Paris produc¬ 
tion by Jane Hading. The two seasons follow¬ 
ing this she played under Charles Frohman’s 
direction, appearing with William Faversham in “ Imprudence,” and “ Lord 
and Lady Algy,” and on tour as Estelle Kitteridge in “ The Other Girl.” 
Miss Roebuck next took up the leading feminine role in “ Genesee of the 
Hills,” with Edwin Arden, then appeared with Lawrence D’Orsay in the 
short-lived production of “ Lord Doncaster,” after which she succeeeded 
Margaret Illington as Nina Jesson in “ His House in Order,” in the support 
of John Drew, and her most recent work was as Marian Devereaux in 
“ The House of a Thousand Candles,” at Daly’s Theatre. A talented and 
graceful actress, one with exceptional temperamental qualities, Miss Roe¬ 
buck has pursued an even tenor in her career most commendable, each 
season finding her ^further advanced along her professional pathway, and 
her future should bring forth results that only a clever woman such as she 
can hope to attain. 



# # # 


Oh for a lodge in a garden of cucumbers! 

Oh for an iceberg or two at control! 

Oh for a vale that at midday the dew cumbers! 

Oh for a pleasure trip up to the pole! 

—Rossiter Johnson. 


190 




August 30 Richard Sterling 

r T' , HE name of Richard Sterling has appeared on Broadway play-bills with 
A considerable frequency during the past ten years, and as an actor of 
juvenile roles he has been making quite a name for himself. There 
is a decisive, clean-cut touch to his acting that is most effective, and, as 
he has the necessary youth and spirits for the type of parts with which he 
has become identified, his success is all the more readily understood. Mr. 
Sterling, who came into the world in Brooklyn, N. Y., first attracted atten¬ 
tion in the stage world during the season of 1897-98 in the support of Nat 
Goodwin, with whom he remained two years, playing Willie Bunn in “An 
American Citizen ” and Tom Adams in “ Nathan Hale.” He then appeared 
in the original production of “ Quo Vadis,” playing Nazarius, followed by 
a season in the support of Richard Mansfield as the Duke of Orleans in 
“ Henry V.” He was next seen on tour in Kathryn Kidder’s company, play¬ 
ing Dr. Kane in “ Molly Pitcher ” and was then at Wallack’s in “ The Last 
Appeal.” The season of 1902-03, Mr. Sterling became a member of Robert 
Edeson’s company, continuing in the support of that actor for five years, 
playing Teddy Langham in “ Soldiers of Fortune,” Rex Ballard in “ The 
Rector’s Garden,” Lieutenant Wadleigh in “ Ranson’s Folly ” and Ross in 
“ Strongheart.” He accompanied Mr. Edeson to London, in May, 1908, 
appearing at the Aldwych Theatre in “ Strongheart.” Mr. Sterling remained 
in London after the close of the Edeson season, and opened at the Play¬ 
house on June 25th with Cyril Maude in “ The Earl of Pawtucket,” play¬ 
ing Arthur Weatherbee. He was back in America, however, the season 
of 1907-08, and appeared on tour as Bob Livingston in “ Caught in the 
Rain,” supporting William Collier. 


August 31 Phyllis Rankin 

A WORTHY member of a most worthy theatrical family, Phyllis Rankin 
**-has been a dignified ornament to her profession for a number of years, 
following her career with a quiet unobtrusiveness, always doing good 
work, too, that is greatly to be commended. The daughter of such well- 
known parents as Arthur McKee and Kitty (Blanchard) Rankin, she had 
some little experience as a child actress, appearing with her father’s com¬ 
pany in “ Stormbeaten.” What one might call her real stage debut occurred 
at Palmer’s Theatre on June 20, 1890, when she appeared at a special 
matinee of a piece called “ Sara.” During her first half-dozen years behind 
the footlights Miss Rankin appeared in the support of such stars as Rose 
Coghlan, Mrs. John Drew, Mr. and Mrs. Sidney Drew and with her father 
in “ The Canuck ” and “ The Danites.” She then sang in vaudeville for a 
time. It was the season of 1897-98 that saw Miss Rankin come into her 
own with the theatregoing public, creating the part of Fifi in “ The Belle 
of New York,” at the Casino. She played this role two seasons, one of which 
was spent at the Shaftesbury Theatre, London. Returning to America, the 
season of 1899-00, she was Thea in “ The Rounders.” For several years 
following this Miss Rankin was identified with the English stage, singing 
in the music halls and starring in a musical piece called “The Gay Cadets,” 
as well as participating in a revival of “ The Belle of New York.” She 
returned to this country the season of 1903-04, remaining in our midst ever 
since, appearing in the productions of “ Glad of It,” at the Savoy, “ Glit¬ 
tering Gloria,” at Daly’s, with Nat Goodwin in “Wolfville,” with Lew 
Fields in “ It Happened in Nordland,” with Katherine Grey in “ The Reckon¬ 
ing,” in “ Fascinating Flora ” and along with her husband, Harry Davenport, 
in vaudeville. 














































\ 
































c 





























# 



























LEWIS MORRISON. 


Born, September 4, 1845. 


Died, August 18, 1906. 












- 






























































































































September 1 Guy Standing 

1 I 70 R about a dozen years the name of Guy Standing has been prominently 
before the American public as an actor of rare finish and distinction, 
and his name is a potent drawing-card upon any play-bill. An English¬ 
man by birth, a son of Herbert Standing, he made his stage debut on August 
7, 1889, at the Criterion Theatre, London, with Sir Charles Wyndham in 
“ Wild Oats.” After appearing at Drury Lane in “ A Million of Money,” 
Mr. Standing joined Mrs. Bernard Beere’s company, touring Australia. 
It was in the support of this actress that he made his debut on the New 
York stage, appearing at the Manhattan Opera House (later Koster and 
Bial’s Music Hall) in “ Lena Despard ” and “ Ariane.” After a brief term 
with Loie Fuller’s specialty company, he began a long association with 
Charles Frohman in 1895, appearing that year in “ Sowing the Wind.” The 
season of 1896-97, he was first with Annie Russell in “ Sue,” then at the 
Casino in “ La Falote,” returning to Miss Russell’s support in “ The Myste¬ 
rious Mr. Bugle.” The next season he divided between Maude Adams in 
“ The Little Minister ” and with the Empire Theatre Company in “ The Con¬ 
querors/’ He remained with the Empire forces for the next three years, 

appearing in “ Phroso,” “ Lord and Lady Algy,” “ My Lady’s Lord,” 

“ Brother Officers,” “ A Man and His Wife,” “ Mrs. Dane’s Defense ” and 

“ Diplomacy.” In May, 1899, Mr. Standing played a special engagement at 

the Lyceum in the title role in “ His Excellency the Governor.” The season 
of 1901-02, and the one following, he appeared with John Drew in “ The 
Second in Command ” and “ The Mummy and the Humming Bird,” and 
then came a season with Fay Davis in “ Lady Rose’s Daughter ” and 
“ Whitewashing Julia.” He was next seen with Mrs. Patrick Campbell in 
“ The Sorceress,” and played for a short time in “ Mrs. Leffingwell’s Boots.” 
The season of 1905-06, he appeared with Nat Goodwin in “ Wolfville,” 
re-appeared for a time in “ Mrs. Leffingwell’s Boots,” was also with Henrietta 
Crosman in “ Madeline,” with Henry Miller in “ Grierson’s Way,” Ellis 
Jeffreys in. “ The Fascinating Mr. Vandervelt” and Otis Skinner in “The 
Duel.” The season after this he starred for a fortnight in “ A Society 
Policeman,” was with Odette Tyler in “ The Love Route,” Lena Ashwell 
in “ The Shulamite ” and “ Mrs. Dane’s Defense*,” and Madame Nazimova 
in “ Hedda Gabler ” and “ The Comtesse Coquette.” Mr. Standing and 
Theodore Roberts co-starred, during the season of 1907-08, in “ The Right 
of Way.” Beginning in 1905, and each subsequent summer, Mr. Standing 
has appeared at the head of his own stock company in Washington, D. C. 


4 s *1* 


Oh, sweet September, thy first breezes bring 
The dry leaf’s rustle and the squirrel’s laughter, 

The cool fresh air whence health and vigor spring 
And promise of exceeding joy hereafter. 

—George Arnold’s “ September Days.” 


201 


September 2 


Henrietta Crosman 


H ENRIETTA CROSMAN, one of the foremost interpreters of comedy 
roles on our stage to-day, there being a sparkle and spontaneity about 
her acting in this line of work that is positively invigorating, was born 
in Wheeling, W. Va., being a member of a family distinguished for several 
generations in army circles. After graduating from the Moravian Seminary, 
Bethlehem, Pa., she made her stage debut as Letty in “The White Slave,” 
at the Windsor Theatre, on August 13, 1883. The season following this 
she appeared with the Madison Square Theatre Company in “ The Rajah ” 
and “ The Private Secretary,” followed by a season on tour in “ Young 
Mrs. Winthrop.” She then gained a knowledge of the classic drama by play¬ 
ing leads for one season each with Edmund Collier, Robert Downing and 
Frederick Warde. The season of 1889-90, she was at Daly’s in “As You 
Like It,” and with the Lyceum Theatre Company in “ The Charity Ball.” 
She began the following season with the Terriss-Millward Company in 
“ Roger La Honte,” returning to the Lyceum forces in “ The Idler.” For 
four years following this Miss Crosman appeared with Charles Frohman’s 
Comedians in “ Mr. Wilkinson’s Widows,” “ The Junior Partner,” “ Glori- 
ana,” “The Other Man” and “Mrs. Grundy, Jr.” The season of^1895-96, 
she was in “ Burmah,” at the American, and “ A House of Cards,” at the 
Fifth Avenue. For several years after this she was identified with stock 
organizations in Denver, Brooklyn, Cincinnati and Pittsburg, and was on 
tour one season with Charles Dickson in “ Mistakes Will Happen.” Miss 
Crosman made her stellar debut at Harrisburg, Pa., on April 10, 1900, star¬ 
ring at the head of her own company ever since, and has presented the 
following plays: “ One of Our Girls,” “ Mistress Nell,” “Joan o’ the Shoals,” 
“ As You Like It,” “ The Sword of the King,” “ Nance Oldfield,” “ Made¬ 
line,” “Sweet Kitty Bellairs,” “Mary, Mary, Quite Contrary,” “ All-of-a- 
Sudden Peggy,” “The Almighty Dollar,” “The Christian Pilgrim,” “The 
New Mrs. Loring ” and “ A Country Girl.” 




September 



Hughston 


A YOUNG actor who has won a notable name for himself under the 

Belasco banner and in stock company circles, Regan Hughston is to 

be greatly congratulated upon his professional progress, having worked 
his way up from small parts into leading juvenile business, with a reper¬ 
toire of important roles to his credit that would do honor to an actor of 

twice his years and experience. Mr. Hughston, who is a native of Chicago, 
began his stage career the season of 1899-00, playing the role of Lloyd 
Calvert in “ The Heart of Maryland,” with which company he played a 
second season. He then became a member of the Fawcett Stock Company in 
Baltimore, where he remained three years in all, aside from a brief term, 
in the fall of 1903, when he appeared on tour as leading man with Percy 
Haswell in “ The Favor of the Queen.” The season of 1904-05, Mr. Hughston 
appeared first with the Imperial Theatre Stock, Providence, R. I., later 
re-joining the Fawcett Stock at the American Theatre, New York, being 
especially successful as Romeo to Miss Haswell’s Juliet. The next year he 
was seen again in “ The Heart of Maryland,” appearing in the special star 
revival of this piece, re-appearing with the Fawcett forces in Sit. Paul, Minn., 
in the summer of 1906. Mr. Hughston began the season of 1906-07 with 
the Chicago Opera House Stock, in Chicago, later appearing again with the 
Fawcett company in Baltimore, and Atlanta, Ga. He had a busy time of it 
during the season of 1907-08, appearing first with the Boyle Stock, New 
Haven, Conn., then back to Baltimore with the Fawcett organization, and 
finally with the Sherman Brown Stock in Milwaukee. Mr. Hughston, by 
his faithful application, is deserving of all possible credit and he has thor¬ 
oughly earned every bit of his success. 


202 


September 4 


Lewis Morrison 



AS the name of the late Lewis Morrison will probably always be associated 
with the role of Mephisto in “ Faust,” it seems only a fair thing to recall 
some of his earlier efforts to reveal the powers that were his in his 
younger days, when he was regarded as one of the cleverest romantic actors 
of the day. Born in Jamaica. W. I., of English and Spanish descent, he lived 
as a youth in Brooklyn, N. Y. When the Civil War broke out, he accepted 
a commission as lieutenant in the Northern army, later being promoted to a 
captaincy, and served the entire three years of the war. Mr. Morrison began 
his career as an actor immediately afterward, and for many years served 
in stock companies in New Orleans, Philadelphia, San Francisco and New 
York, a few of his most notable performances being: Romeo to Adelaide 
Neilson’s Juliet, Bill Sikes to Lucille Western’s Nancy, Iago to the elder 
Salvini’s Othello, Laertes to Booth’s Hamlet, Macduff to Charlotte Cush¬ 
man’s Lady Macbeth and Edgar to Forrest’s King Lear, some years later 
playing Pontius Pilate to the Christ of James O’Neill in the Passion Play. 
So it can be seen that for Mr. Morrison’s loyalty in giving the public their 
much desired “ Faust ” season after season, practically twenty in all, the 
stage lost an artist whose early career gave promise of most admirable 
achievements. Actors of his fine calibre are all too scarce nowadays, and 
a pity it is that his art was not allowed a fuller fruition. With Mr. Mor¬ 
rison’s passing went an actor of exceptional mental poise and power, and 
his place is not one that can be easily filled. His widow, known to the 
stage world as Florence Roberts, is a commanding figure among our leading 
emotional actresses, rare temperamental sympathy and wonderful reserve 
force guiding all her work, and she claims that she owes practically all 
of her skilled art to Mr. Morrison’s guidance and instruction. 




September 



]\/IARJORIE WOOD is making quite a name for herself with exceptional 
celerity as an actress of ingenue roles. She has been behind the foot¬ 
lights only five years in all, but during that time she has made steady 
progression, always endeavoring to uphold the best possible standard in her 
acting. Miss Wood is a daughter of George M. and Marguerite St. John 
Wood, the latter being well known as a player of grande dame parts. She 
was born in London, England, being educated there and in Paris. She 
began her stage career the season of 1903-04, playing the role of Nellie 
Patterson in “ The Old Homestead,” in the support of Denman Thompson. 
The season following this Miss Wood became a member of Robert Edeson’s 
company, and she has continued to appear in this actor’s support ever since. 
She created the role of Betty Bates in “ Strongheart,” which she played two 
seasons, afterward being promoted to the ingenue part of Molly Livingston. 
She appeared in this role on tour one season, later playing it at the Ald- 
wych Theatre, London, with Mr. Edeson. The season of 1907-08, she orig¬ 
inated Phyllis Stafford in “Classmates,” appeared in Philadelphia in the 
brief hearing given “ The Sinner,” and on April 23, 1908, she entered the 
ranks of leading women, creating the part of Virginia Albert in “ The Call 
of the North,” in Providence, R. I. So excellent an impression did she 
make in this role that she will continue to be Mr. Edeson’s opposite player 
in “ The Call of the North ” throughout the season of 1908-09. The summer 
of 1905, Miss Wood was a member of the Hunter-Bradford Stock, Hart¬ 
ford. Conn., and the summer following was jyith the Euclid Avenue Stock 
in Cleveland. 


203 



Charles E. Evans 


September 6 


\T 0 matter what the theatrical fates of to-morrow have in store for Charles 
1 ’ E. Evans, his name will always be closely identified with the role of 

I. McCorker in “ A Parlor Match.” And, as a matter of truth, it is 

practically the one and only part in which he has ever gained any great 
lasting fame. Mr. Evans came into the world in Rochester, N. Y., being a 
son of Evan and Lydia (Paddock) Evans, and was educated at the public 
schools of his native town. He began his stage career in the middle seventies 
with Frank Mayo in “ The Streets of New York.” He then went into 

the variety and vaudeville world, continuing in this field, in association with 

William Hoey, for many y.ears. Messrs. Evans and Hoey had Charles H. 

Hoyt make an elaborated version of one of their vaudeville sketches, the 
result being “ A Parlor Match,” which they first played on the New York 
stage, September 22, 1884, at Tony Pastor’s theatre. They continued in this 
piece until 1894, meeting with tremendous success, and then Mr. Evans 
became a Broadway theatre manager, directing both the Herald Square and 
Princess theatres for several years. He resumed his stage career in 1900, 
his principal engagements since then being in the title role in “ Naughty 
Anthony,” the lead in “ The Sho-Gun ” and as co-star, with Charles H. 
Hopper, in “ There and Back.” For the past three years Mr. Evans and 
Mr. Hopper have been touring the vaudeville circuits in a condensed version 
of “ There and Back.” 







M. Holland 


\ /ERY few actors now before the public have played more parts on the 
* New York stage than E. M. Holland. Practically all of his career 
has been passed in Broadway playhouses, and his name and following 
are such that any actor might covet. Mr. Holland was born in New York 
City, his parents being George and Catherine (De Luce) Holland, and he is 
brother to George and Joseph, of the same ilk. After some slight experi¬ 
ence as a child actor, he began his stage career in 1863 as a member of 
Mrs. John Wood’s company at the Olympic Theatre, playing small juvenile 
parts. He was with this company three years, followed by a season at 
Barnum’s Museum, and in 1867 he joined the stock at Wallack’s Theatre. 
Mr. Holland remained at Wallack’s for thirteen consecutive years, working 
his way up from small parts into leading juvenile and comedy roles. He 
went to London in 1880 with McKee Rankin, playing “ The Danites,” and the 
two years following this he played special engagements in New York. 
In 1883, he became a member of A. M. Palmer’s company, with which he 
remained twelve years, dividing the time between the Madison Square and 
Palmer’s theatres, a few of his biggest successes being in “ Jim the Pen¬ 
man,” “ Captain Swift,” “ Aunt Jack,” “ A Pair of Spectacles,” “ Alabama ” 
and “ Colonel Carter of Cartersville.” The season of 1895-96, Mr. Holland 
and his brother, Joseph, became co-stars, appearing at the head of their 
own company for two and a half seasons, presenting: “ A Man with a Past,” 
“ A Social Highwayman,” “ Two Men of Business,” “ A Superfluous Hus¬ 
band ” and “Dr. Claudius.” In the spring of 1897, Mr. Holland became 
a member of Charles Frohman’s forces, continuing until the end of the 
season of 1901-02. during which time he was seen in “ Never Again,” 
“ On and Off,” “ Make Way for the Ladies,” “ Coralie and Co., Dress¬ 
makers,” “Hearts are Trumps,” “The Husbands of Leontine,” “Self and 
Lady,” “ The Shades of Night,” “ The Lash of a Whip ” and “ Eben Holden.” 
The season of 1902-03, he was with Viola Allen in “ The Eternal City,” 
followed by three years with Kyrle Bellew in “ Raffles.” Mr. Holland divided 
the next season between “ The Measure of a Man ” and Otis Skinner in 
“ The Duel,” and, 1907-08, he was first in “ The House of a Thousand 
Candles” and then with Eleanor Robson in “Nurse Marjorie.” 


204 


September 8 


Bertha Kalich 


A. REMARKABLY gifted actress is Bertha Kalich, of wonderful force, 
* *-fire and passionate power, and she has every right to acceptance with 
the most popular favorites of the day. Given that priceless boon, a good 
part in a good play, and she is bound to come into her own as one of the 
foremost emotional actresses on the American stage. Madame Kalich was 
born in Lemberg, Galicia, Austria-Hungary, where she also spent her youth, 
and when a girl of fifteen she became a singing pupil at the Lemberg Con¬ 
servatory. She made rapid progress in the cultivation of her voice, and 
began her stage career in 1890 as a member of an opera troupe. She soon 
worked her way into the front rank of operatic artists, and became prima 
donna of the Bucharest National Theatre. Madame Kalich’s fame had 
spread to America by this time, and she was engaged by Mr. Edelstein to 
sing the leading roles at New York Thalia Theatre, beginning in 1894. She 
enjoyed high favor in the musical field, but after a few years in this country 
she turned her attention to the serious drama, playing in the Yiddish 
versions of “ A Doll’s House,” “ Magda,” “ Madame Sans Gene,” etc. 
Madame Kalich then mastered the English language, and made her debut 
as an English-speaking actress at the American Theatre, May 22, 1905, 
playing the title role in “ Fedora.” She then signed a long-term contract 
with Harrison Grey Fiske, and has appeared under his management ever 
since: the season of 1905-06, in “ Monna Vanna” and “ Therese Raquin ” ; 
1906-07, in “ The Kreutzer Sonata,” doing splendid work in this; and 1907-08, 
in ‘‘Sappho and Phaon ” and “Marta of the Lowlands,” the latter another 
piece of brilliant acting. Madame Kalich, to whom the theatrical fates have 
been harsh in several instances, deserves only the best at the hands of 
our theatregoing public. 

* 

September 9 J. C. Buckstone 

A FEW years ago J. C. Buckstone was an active participant in American 
theatricals, enjoying high favor as an actor of light-comedy roles, but 
he hasn’t appeared here in a number of years, being equally popular 
now with English audiences. Mr. Buckstone is a member of the famous 
family of that name so long distinguished in stage history, his father being 
John Baldwin Buckstone, the playwright, while his brother, Rowland, has 
been playing in America for the past twenty-five years. Born in Sydenham, 
Kent, England. Mr. Buckstone began his stage career in 1876 with the 
Chippendale Comedy Company, and during his first five years on the stage 
he supported such stars as Edward Terry, J. S. Clark, Mrs. Bernard Beere 
and Marie de Grey. He came to this country in 1882, and made his debut 
September 9th with Wallack’s company, opening in “ Taken from Life.” 
He remained at Wallack’s for three years as light comedian, returning to 
England at the end of that time. The season of 1889-90 found him back 
in this country, however, appearing first as Tom Bassett in “ Hands Across 
the Sea,” and he then played Lord Manly in “ Beau Brummell,” with 
Richard Mansfield. The two seasons following this he appeared under 
Charles Frohman’s management, in “ All the Comforts of Home,” and the 
original productions of “ Men and Women ” and “ The Lost Paradise.” 
He also spent a season with Rose Coghlan, as Algy Fairfax in “ Diplomacy.” 
Mr. Buckstone returned to his native land about the middle nineties, and 
has been actively engaged in London theatricals ever since, of late devoting 
his talents ito the musical comedy stage, appearing in many of the panto¬ 
mimes and with Seymour Hicks and Ellaline Terriss in “ Blue Bell in 
Fairyland ” and “ The Gay Gordons.” 



205 


September 1 0 


Caro Roma 


/'"'’ARO ROMA is an exceptionally talented singer and musician, and she 
has been favored with honors and success far above the ordinary. With 
an exceptionally beautiful voice, decided talents as an actress and a 
complete mastery of all the technique of music, she has steadily climbed her 
way into public favor, and for many years now has held a foremost place 
among American singers. Madame Roma is a Californian by birth, and 
as a young girl she studied music in San Francisco, with a finishing course 
at the New England Conservatory of Music, in Boston. She was the first 
prima donna of the Castle Square Opera Company in Boston, and for many 
years was a big favorite at the Tivoli in ’Frisco. She sang Santuzza in 

“ Cavalleria Rusticana ” at the Tivoli on March 2, 1903, with Pietro 

Mascagni, himself, in the conductor’s chair, and he afterward remarked, “ My 
Italian Santuzza could sing, my French Santuzza could act, but my American 
Santuzza, Caro Roma, could both sing and act.” Madame Roma has also 
sung in grand opera in the leading European capitals, and she is the proud 
possessor of a pin given her by the late Queen Victoria in appreciation of her 
talents. She has also stood sponsor for any number of musical and lyrical 

compositions, all of a very high calibre and greatly appreciated by music- 

lovers. Madame Roma’s last professional appearance on Broadway was in 
January, 1906, when she appeared at the Lyric Theatre in “ Mexicana.” Since 
then she has devoted herself largely to musical composition and vocal coach¬ 
ing, but she is too talented an artist, with too fine a mental perspective, to 
remain off the boards so long. May she soon return—and with added 
glories! 



September 1 1 Nora O’Brien 

jP\URING the dozen years of Nora O’Brien’s stage career she displayed 
a finely sincere spirit, a laudable ambition to accomplish only the things 
most worth while and made a splendidly courageous effort to uphold 
a dignified acting standard. And, too, not a little success fell to her 
portion, though she never achieved the heights towards which her ambition 
led. Miss O’Brien is a Baltimore girl by birth, and from her earliest youth 
she determined to follow a stage career, engaging early in amateur theatri¬ 
cals. She made her professional debut in Baltimore, in the middle nineties, 
playing Juliet to Frederick Paulding’s Romeo. Immediately afterward she 
formed an alliance with Charles B. Hanford and Elihu R. Spencer, and 
the trio starred in Shakespearean repertoire with considerable success. Miss 
O’Brien then joined Daly’s company, appearing in “ The Taming of the 
Shrew.” She was with James O’Neill’s company for some time, first 
playing Constance, and later Anne of Austria, in “ The Musketeers.” The 
season of 1900-01, she was leading lady of the Valentine Stock, in St. John 
and Halifax, N. B., afterward touring in Yeats’ “The Land of Heart’s 
Desire.” Since then Miss O’Brien’s principal engagements have been with 
Mrs. Le Moyne in “ The First Duchess of Marlborough,” S. Miller Kent in 
“ The Cowboy and the Lady,” Henry Miller in “ The Taming of Helen,” 
Viola Allen, as Olivia, in “ Twelfth Night,” in “ The Heir to the Hoorah,” 
the title role in “ Sunday” and with May Robson in “The Rejuvenation of 
Aunt Mary.” On January 25, 1908, Miss O’Brien married Whidden Graham, 
a New York business man, and has retired from the stage. 


206 


Mrs. Bandmann-Palmer 


September 1 2 


A LTHOUGH Mrs. Bandmann-Palmer has not been concerned with 
*■ *■ theatrical affairs in America for many years, she is by no means for¬ 
gotten by our older theatregoers, those who happily recall her work 
as leading woman with the German tragedian, the late Daniel E. Bandmann, 
whose wife she was in those days. An Englishwoman by birth, born in 
Lancaster, her maiden name being Millicent Palmer, she began her stage 
career in 1864 at the London Strand as Pauline in “ Delicate Ground,” 
after which she made a tremendous success as Juliet, at the Lyceum. On 
February 17, 1868, she was seen at this same playhouse as Doris Quinault 
in “ Narcisse,” supporting Mr. Bandmann, who made his London debut 
upon this occasion. A year later they were married and co-starred most 
successfully for a long time, touring the United States, Australia and Eng¬ 
land, a few of Mrs. Bandmann’s most popular roles being Ophelia, Lady 
Macbeth, Juliet, Beatrice, Rosalind, Desdemona, Portia, Pauline, etc. They 
separated, both professionally and matrimonially, over twenty-five years ago, 
and since then Mrs. Bandmann, who has added her maiden name to that 
of her former husband, has devoted her talents exclusively to the Eng¬ 
lish stage. She is high in favor in the provinces, having starred at the 
head of her own company for the past twenty years, and as an exponent of 
the Shakespearean drama she has an immense following. Probably her 
most popular role of all is that of Hamlet, which she has played over 
five hundred times, this being a record among modern-day female Hamlets. 
Though one can never tell, it is hardly a likely thing that Mrs. Bandmann- 
Palmer will venture a re-appearance upon the American stage again, as she 
has become so closely identified with English stage affairs, gaining an im¬ 
pregnable position, that she probably doesn’t care to again visit our shores 
again in a professional capacity after so long an absence. 





September 



William Bramwell 


YVyiLLIAM BRAMWELL has been most fortunate during his few years 
’’ as a professional player, meeting with success at the very beginning 
of his career, and he has gone steadily forward ever since, now being 
numbered among our most popular leading men. A native of New York 
state, Mr. Bramwell began his stage career about a dozen years ago, appear¬ 
ing in the support of Robert L. Downing, with whom he gained an excellent 
schooling in the classic drama. Beginning with the season of 1897-98, and 
for three years in all, he was leading man with Eugenie Blair, playing 
Archibald Carlyle in “ East Lynne,” Sir John Oxen in “ A Lady of Quality,” 
Armand in “ Camille,” Don Jose in “ Carmen,” etc. The season of 1900-01, 
and for two seasons and a half, Mr. Bramwell played leading roles with the 
Murray Hill Stock Company, gaining a large repertoire of heroic leads, 
and then spent half a season with the Proctor Stock, at the Fifth Avenue 
Theatre. After this came a long tour in vaudeville, in conjunction with 
Minnie Seligman, and a brief return to the Murray Hill forces. Mr. Bram¬ 
well then appeared on tour one season as a star in “ Captain Barrington,” 
after which he and Miss Seligman were seen for a brief period in “ The 
Dragon Fly.” He then appeared at the Manhattan Theatre in “ The Triangle,” 
afterward playing with the Empire Theatre Stock in Boston. The season 
of 1906-07, Mr. Bramwell was at the head of the stock at the Chicago Opera 
House, in the city of that name, later making a brief dip into vaudeville, 
exclusively in the Windy City, along with Eleanor Gordon. Mr. Bramwell 
and Miss Seligman presented a one-act playlet, “ A Dakota Widow,” in 
vaudeville, during the season of 1907-08. 


207 


September 1 4 


Kathryn Hutchinson 

ATHRYN HUTCHINSON has had an exceptionally successful time 
of it during her few years in the stage world, and the musical-comedy 
stage can boast of few more bewitching or attractive figures than she. 
Miss Hutchinson was born in Montpelier, Vt., where she spent her child¬ 
hood days, graduating from the High School there, and then studied music 
for a time in Boston. Upon her decision to follow a stage career, she went 
about it in the right way. making her debut in the spring of 1902 in the 
chorus of “ The Show Girl.” A few weeks after the opening she was sud¬ 
denly called upon to play the title role in this piece, and so great was her 
success that she was permanently retained in the part. The season of 1903-04, 
Miss Hutchinson first played Titania in “ A Midsummer Night’s Dream,” 
in the support of Nat C. Goodwin, was then Eleanor Grey in “ Little Mary.” 
at the Empire Theatre, and later took up the role of North Chalmers in 
“ The Girl from Kay’s,” with Sam Bernard, which part she played all of 
the season following. She played Mother Carey in “ The Pearl and the 
Pumpkin,” at the Broadway, in the fall of 1905, and the next year she was 
Lady Mildred Vane in “ The Rich Mr. Hoggenheimer,” again supporting 
Sam Bernard. The season of 1907-08, Miss Hutchinson was a particularly 
attractive picture as Lucy Talbot in “ The Hoyden,” in the support of Elsie 
Janis. As can be seen from this sketch of her career, Miss Hutchinson has 
figured in many leading Broadway productions, and her success is a fitting 
tribute to her beauty and talents. 


September 1 5 Mrs. E. G. Sutherland 

1 WIRS. EVELYN GREENLEAF SUTHERLAND enjoys exceptional 
popularity among our playwrights of the fair sex, and she has made 
rather a notable name for herself by a long list of successes, most 
of which have been written in collaboration with Beulah Marie Dix. Mrs. 
Sutherland was born in Cambridge, Mass., and was educated at private 
schools in Boston and Geneva, Switzerland. She began writing plays about 
the middle nineties, some of her best known efforts being, all of these written 
in collaboration with Miss Dix: “A Rose o’ Plymouth Town,” 1902, for 
Minnie Dupree; “The Breed of the Treshams.” 1903, and “Boy O’Carroll,” 
1906, both produced in London by Martin Harvey; “The Lilac Room,” 1906, 
for Amelia Bingham; “ The-Road to Yesterday,” 1906, for Miss Dupree; and 
“ Matt of Merrymount,” 1907, produced in London by Fred Terry and Julia 
Neilson. Mrs. Sutherland has also collaborated with Booth Tarkington in 
a dramatization of “ Monsieur Beaucaire,” 1902, which Richard Mansfield 
used in this country and Lewis Waller on the other side. In association 
with General C. King, she helped dramatize his story, “ Fort Frayne,” 
produced in San Francisco about ten years ago by Daniel Frawley’s Stock 
Company. She met with scant approval with her “ Joan o’ the Shoals,” 
1902, which Henrietta Crosman brought out. Mrs. Sutherland has little 
trouble in placing her plays nowadays, for she invests most of them with 
the happy knack of originality, and theatrical managers are only too glad 
to grasp plays with this quality about them. (But when playwrights col¬ 
laborate it is always a difficult thing to tell just where one leaves off, and 
the other begins!) 


208 


September 16 Jessie McAlister 

A DELIGHTFULLY refreshing ingenue actress, one whose methods com j 
**bine originality, technicality and personality, Jessie McAlister is com¬ 
ing to the front with giant strides, and many are the roseate prophecies 
for her future. She has been trained in a hardy, rigorous school, that of 
the modern stock company, from which she has derived all sorts of benefit, 
gaining an elaborate and extensive repertoire of leading ingenue roles and 
an amount of sound professional experience that 
few players as young as she ever obtain, and 
which will prove of the greatest value to her 
as time goes on. Miss McAlister was born in 
Franklin, Pa., and, while still in her ’teens, she 
made her stage debut as Rose Dean with the 
Spooner company in “ The Wages of Sin,” and 
has remained a member of this same organization 
ever since, appearing first on tour, then in Brook¬ 
lyn and finally on Broadway. As an interpreter 
of ingenue roles, Miss McAlister occupies an 
almost unrivaled position in the modern stock 
field, being particularly successful in such frolic¬ 
some roles as Vi Thompson in “ The Stubborn¬ 
ness of Geraldine,” Tabitha Drinker in “Janice 
Meredith,” Fuschia Leach in “ Moths,” Arabella 
Doe in “A Temperance Town” and Florence St. 

Vincent Brown in “ The Banker’s Daughter.” 

She can also bring the necessary note of dignity 
or pathos to parts like Anne Chute in “The Col¬ 
leen Bawn,” Mary Stuart in “ Dorothy Vernon 
of Haddon Hall,” Sarita in “ The Pretty Sister 
of Jose” and Claudinet in “The Two Little 
Vagrants,” while her versatile powers can eas'L 
stand the test of the child’s part of Simplicity 
Johnson in “ Lovers’ Lane ” and the character comedy role of Natalie in 
“ Zaza.” It was through her portrayal of the role of Floppy Jane in “ Aunt 
Cynthy’s Homestead ” that Miss McAlister fell under the discerning eye 
of no less an astute manager than David Belasco, and a very probable thing 
it is that that producer will have an active interest in her professional wel¬ 
fare at no very great distant date. Certainly Miss McAlister has been most 
loyal in her stage duties and endeavors, and she is deserving of just such 
a rich reward. That Mr. Belasco, or any other equally well-known manager, 
would display wise judgment in securing the services of this attractive 
and magnetic young actress, with her dainty, winsome ways, is a fact quite 
readily admitted by all who have watched her earnestness and steadfast 
attention to her professional labors. 



# # *§* 


The morrow was a bright September morn; 

The earth was beautiful, as if new-born; 

There was that nameless splendor everywhere, 

That wild exhilaration in the air, 

Which makes the passers in the city street 
Congratulate each other as they meet. 

—Longfellow. 


209 




September 1 7 


Carrie Merrilees 


r I ’HOUGH not especially conspicuous nowadays, many theatregoers will 
recall the Three Merrilees Sisters, w T ho were great favorites in the music 
halls about a dozen years ago. They answered to the names of Carrie, 
Jessie and Edith, and each had their particular following and admirers. 
Since then they have scattered to the four theatrical winds, and Carrie 
Merrilees has done some very clever work on the dramatic stage. She 
created the role of Beitty, one of the music hall girls, in “The Christian,” 
supporting Viola Allen, and she was identified with this play four seasons 
in all, twice as long as Miss Allen herself. The season of 1903-04, after a 
few preliminary weeks in “ The Christian ” in the support of Edward Mor¬ 
gan and Clara Blandick, Miss Merrilees joined the forces of James O’Neill, 
with whom she originated the role of the confidential maid, Agnes, in his 
production of “ The Adventures of Gerard,” and since that time she has not 
been particularly active in the matter of professional engagements. She 
was a dependable, capable actress, and it is rather unfortunate that her acting 
opportunities did not embrace a more liberal and comprehensive field. Her 
sister, Jessie, probably the best known of the trio, is now high in favor in 
the English music halls. 


The summer’s throbbing chant is done 
And mute the choral antiphon; 

The birds have left the shivering pines 
To flit among the trellised vines, 

Or fan the air with scented plumes 
Amid the love-sick orange blooms, 

And thou art here alone—alone— 

Sing, little bird! the rest have flown. 

—O. W. Holmes. 


210 


Mile. Dazie 


September 1 8 

I '‘HE acknowledged leader among all American dancers, a premiere 

A danseuse of the very finest calibre, Mile. Dazie is deserving of the 
highest praise and admiration for her brilliant results in the art of 
Terpsichore. Within an exceptionally short space of time she has climbed 
to the top pinnacle of success, all due to the remarkable originality displayed 
in her dancing and her zealous effort to keep thoroughly abreast of the 
times. She is constantly inventing new dances, 
each more attractive and captivating than its 
predecessor, and hence an easy thing it is to 
comprehend the many honors that are hers. Mile. 

Dazie is an American girl, born in St. Louis, Mo., 
and from earliest childhood has been a devotee 
of the dance. She first won note in the stage 
world as premiere with “ The Belle of New 
York,” remaining two years with this piece. She 
then went abroad, and for several years was a 
stellar attraction in the leading continental music 
halls, winning special favor in London, Paris, 

Berlin, Vienna, Budapest and Hamburg. She 
returned to this country early in 1904, and toured 
the Keith circuit for ten weeks. The summer of 
that year Mile. Dazie became the reigning sensa¬ 
tion of the hour by her appearance at the Wistaria 
Grove, atop of the New York Theatre, though 
her identity was completely hidden under the 
sobriquet of “ Le Domino Rouge,” she appear¬ 
ing with her features hidden by a red mask. For 
over a year she continued under this title, in¬ 
cluding engagements in London and Paris, gain¬ 
ing admiration upon every hand, her business 
affairs being guided by Mark A. Luescher, the 
well-known manager, whom she married on her birthday in 1905. The 
season of 1906-07, Mile. Dazie won many laurels as premiere danseuse 
of Hammerstein’s Manhattan Opera House. She was then engaged by F. 
Ziegfeld, Jr., as the big stellar attraction for his production of “ The 
Follies of 1907,” and so pronounced was her success that he promptly 
re-engaged her for “ The Follies of 1908,” in which (why need one say it?) 
Dazie again came off triumphant. She is a remarkably clever girl, and her 
success is a just tribute to her unquestioned talents. 




Yellow, mellow, ripened days, 

Sheltered in a golden coating; 

O’er the dreamy, listless haze. 

White and dainty cloudlets floating; 

Winking at the blushing trees, 

And the somber furrowed fallow; 

Smiling at the airy ease, 

Of the southward-flying swallow. 

Sweet and smiling are thy ways, 

Beauteous, golden Autumn days. 

—Will Carleton’s “ Autumn Days.” 


211 




September 19 


Malcolm Duncan 


B Y application, study and determinate ambition, Malcolm Duncan is mak¬ 
ing great progress in his professional career, and there are few more 
promising juvenile actors upon our stage to-day than he. Born in 
Brooklyn, N. Y., and educated at the public schools there, Mr. Duncan 
made his stage debut October 2, 1899, at the Hollis Street Theatre, Boston, 
playing the Second Guardsman in “ Cyrano de Bergerac,” supporting Richard 
Mansfield. He continued a second year in Mr. Mansfield’s company, play¬ 
ing the Duke of Bedford in “ Henry V.” and other roles in his repertoire. 
The season of 1901-02, Mr. Duncan appeared with Gertrude Coghlan in 
“ Becky Sharp ” and “ Colinette,” and the next year he was seen on tour 
in “ The Climbers.” He had a busy time of it during 1903-04, appearing first 
with Lizzie Evans in “ At Cozy Corners,” then with Virginia Harned in 
“ The Light that Lies in Woman’s Eyes ” and on tour in Maurice Campbell’s 
production of “ The Raven.” Mr. Duncan first began to attract attention on 
the New York stage in the fall of 1905, when he appeared at Wallack’s 
Theatre with Thomas Jefferson in “ Rip Van Winkle,” playing Heindrich 
Vedder, and the spring following he did most excellent work with Benja¬ 
min Chapin in “ Lincoln,” at the Liberty. He was then engaged by Henry 
B. Harris to play Jefferson Ryder in “ The Lion and the Mouse,” which 
role he has been playing for the past two seasons, aside from a short time, 
in the fall of 1907/when he appeared at the Hackett Theatre as Harold 
Bay in “ The Movers,” an excellent piece of acting. For several summers 
past, Mr. Duncan has appeared in stock at the Columbia Theatre, Wash¬ 
ington, D. C. His career gives every promise of developing into matured 
powers of exceptional sterling worth. 




Andrew 


September 




A NDREW BOGART is a young American tenor who has won not a few 
laurels in musical circles, upon both the concert and operatic stages, 
and many are the bright things predicted for his future. Although his 
stage career has been of very short duration, he has several praiseworthy 
successes to his credit, in England as well as in this country, and there is 
every reason to believe that he will come into a rich professional reward. 
Mr. Bogart first saw the light of day in San Francisco, Cal., receiving his 
schooling there, and also his early musical training. In addition, he studied 
music abroad for several years. He began his public career as a concert 
singer, finding a ready demand for his talents in this field, but the pro¬ 
fessional stage proved too strong a magnet to resist. Mr. Bogart made his 
bow as an operatic artist on September 18, 1904, as a member of the Tivoli 
Opera Company, San Francisco, singing the role of Lopez in “ The Sere¬ 
nade.” His success in this opera was most pronounced, his singing of the 
number, “ I Envy the Bird,” bringing him several recalls at each per¬ 
formance. Following this engagement, Mr. Bogart journeyed to London, 
and in the English capital added further to his reputation by his work 
as Edgar Verney in “The School Girl” and as Gaston Regault in “The 
Little Michus.” He then returned to his native land, and, during the season 
of 1906-07, was one of the leading members of Jefferson De Angelis’ com¬ 
pany, singing the role of Pedrillo in “ The Girl and the Governor.” The 
success with which Mr. Bogart has met is a pretty sure indication of his 
wisdom in adopting the operatic stage, in preference to the concert platform. 


212 


September 21 


Arthur Roberts 


/CONSIDERING the tremendous vogue that Arthur Roberts has long 
enjoyed in England, he having been one of the premier fun-makers 
of the British stage for over thirty years, it is certainly an odd thing 
that he has never been prevailed upon to visit our shores. Many overtures 
have been made to him from time to time to visit here, especially by our 
leading vaudeville managers, but he has steadfastly refused upon the plea 
that his methods are too essentially English to be appreciated by American 
audiences. Mr. Roberts, who is a Londoner by birth, began his stage career 
in 1873 a s a music-hall entertainer, graduating from this into pantomime 
work and then into burlesque and light opera. He made a tremendous 
success in 1885 as the Little Corporal in “ The Old Guard,” after which he 
was seen in such popular pieces as “ Madame Favart,” “ Nadjy ” and 
“ Lancelot the Lovely.” Then came rather a short .and disastrous mana¬ 
gerial term, followed by a provincial starring tour. Mr. Roberts made a 
big London hit in “ Gentleman Joe,” in 1895, and then starred for several 
years in pieces like “ Dandy Smith,” “ Bill Adams,” “ My Lord Sir Smith ” 
and “ H. M. S. Irresponsible,” in which last he played a protean role with 
great success. He also enjoyed great favor in George Edwardes’ produc¬ 
tion of “ In Town,” in which he played the role of Captain Coddington. 
Mr. Roberts’ most recent work on the musical-comedy stage was in 1903, 
when he was seen in the part of Sir Ormsby St. Ledger in “ The School 
Girl,” supporting Edna May, at the Prince of Wales’ Theatre. Since then 
he has appeared successfully in all the leading London halls. Maybe Mr. 
Roberts will yet be persuaded to venture across the Atlantic for our enter¬ 
tainment and amusement, but in the meantime we shall have to content our¬ 
selves with hearing of his glories on the other side. 







LTY BATES POST is an actor of rare skill and exceptional force and 
power, being particularly effective in strong dramatic parts, with a 
sinister touch to them. He has upheld an exceptionally high standard 
in the many roles that have come his way in recent years, and his position 
in Broadway theatricals is one that any actor might envy. A native of 
Seattle, Wash., the son of John James and Mary Annette Post, of English, 
French and Dutch extraction, Mr. Post was educated at Trinity School, in 
San Francisco, and at the State University. He began his stage career 
in 1893 with Kyrle Bellew and Mrs. Potter, playing all manner of parts 
in their repertoire for three seasons. He then supported William Owen in 
a Shakespearean repertoire, and played a large number of juvenile roles in 
the support of Otis Skinner. He was next seen with Marie Wainwright in 
“ Shall We Forgive Her,” was with the Shubert Stock in Syracuse and 
played David Brandon in “ The Children of the Ghetto.” The season of 
1900-01, Mr. Post was first with Gertrude Coghlan in “Vanity Fair,” then 
supported Herbert Kelcey and Effie Shannon in “ My Lady Dainty,” next 
played Lieutenant Denton in “ Arizona” and returned to the Kelcey-Shannon 
fold in “ Manon Lescaut.” The season following he divided between Sadie 
Martinot in “The Marriage Game” and Robert Edeson in “Soldiers of 
Fortune,” and the year of 1902-03 he was with Minnie Dupree in “ A Rose 
o’ Plymouth Town,” in “ The Bird in the Cage,” and in Chicago with 
William Norris in “ A Business Man.” He began the next season with 
Arthur Byron in “ Major Andre,” later on playing Steve in “ The Virginian,” 
in which part he continued all of the year following. Mr. Post was then 
featured in “ The Heir to the Hoorah ” for two years, and the season of 
1907-08 he appeared on tour as leading man with Mrs. Fiske in “ Leah 
Kleschna” and “ Tess of the D’Urbervilles,” and then played Joseph Brooks 
in the Chicago company of “ Paid in Full.” 


213 


September 23 Ivy Troutman 

A YOUNG actress whose short career of six years has been productive 
of most excellent results, Ivy Troutman is, without question, one of 
the most promising leading women now before the public. She has 
known success at an early age, but the combination of beauty, vivacity and 
compelling magnetism has been greatly in her favor, helping to smooth 
her professional pathway. Miss Iroutman was born in Long Branch, in. 

J received her education at St. Mary s, Raleigh, 
N. C., and the Chattle High School, Long Branch, 
and from earliest girlhood has always taken a 
lively interest in theatrical matters. Finally, 
when she had been in her ’teens about a year 
or two, she made her debut at Wallack’s in a 
minor capacity in “ The Last Appeal,” this in the 
spring of 1902. The season of 1902-03, Miss 
Troutman moved up considerably in professional 
caste when she played the role of Isabeau in 
“ If I were King,” with E. H. Sothern. She 
began the next season with Grace George, play¬ 
ing George Anne Bellamy in “ Pretty Peggy,” but 
left this company in the middle of the season to 
become leading woman with Amelia Bingham, 
with whom she remained a year, her roles in 
that actress’ repertoire being Miss Godesby in 
“ The Climbers,” La Catalane in “ Olympe,” Mrs. 
Frank Morely in “ The Frisky Mrs. Johnson ” 
and Susie in “ A Modern Magdalen.” In Febru¬ 
ary, 1905, Miss Troutman joined the Castle 
Square Stock, Boston, to play second leads, re¬ 
maining there ten weeks and gaining much prac¬ 
tical experience. She then became a member of 
“ The College Widow ” company, playing the 
athletic girl, Bessie Tanner, and frequently appeared in the title role, after 
which she was seen with Charles Richman in “ Gallops.” Miss Troutman 
then supported Edwin Arden in vaudeville, and later played Estelle Kit- 
teridge in “ The Other Girl,” with Thomas W. Ross, her sweet, magnetic 
personality finding an excellent chance here. The season of 1907-08, she 
appeared in the support of William H. Crane, being specially selected by 
George Ade to be the creator of the role of Frances Berkeley in his play, 
“ Father and the Boys,” in which she was highly successful. Miss Trout¬ 
man is rarely endowed with temperamental qualities, she has the happy 
faculty of being convincing in either comedy or emotional roles, having 
proven this in many instances, and the success that has come to her is 
surely well merited. 



What visionary tints the year puts on, 

When falling leaves falter through motionless air 
Or numbly cling and shiver to be gone! 

How shimmer the low flats and pastures bare, 

As with her nectar Hebe Autumn fills 
The bowl between me and those distant hills, 

And smiles and shakes abroad her misty, tremulous hair. 

—Lowell. 


214 



September 24 Louise Drew 

A S a member of one of America’s representative stage families, one that 
has always enjoyed the highest repute, Louise Drew has been actively 
engaged in matters theatrical for the past seven years, and as an actress 
of high-comedy roles she has met with no small degree of favor at the 
hands of our theatregoing public. The daughter of John and Josephine 
(Baker) Drew, niece of Sydney and the late Georgie Drew and the late 
Lewis Baker, and first cousin to Ethel, Lionel and John Barrymore, and 
Georgia Mendum, Miss Drew can certainly boast of some of the bluest 
blood in Stageland. She made her first appearance on the stage on Decem¬ 
ber 13, 1899, playing the part of a maid in “ The Tyranny of Tears,” in 
the support of her father, .at the Empire Theatre, appearing for a single 
matinee performance only. What might be called her real stage debut 
occurred in the middle of the season of 1901-02, when she appeared with 
her father in “ The Second in Command.” The season of 1902-03, Miss 
Drew played Aurea Vyse in “ Iris,” with Virginia Harned, and the year 
following she was seen with Fay Davis in “ Lady Rose’s Daughter ” and 
“ Whitewashing Julia.” She then appeared with Robert Edeson in “ Strong- 
heart ” for a season and a half, and was with William Collier a season in 
“ Caught in the Rain.” The summers of 1903, 1904 and 1905 she played in 
Albany. N. Y., with the Kingdon-Courtenay Stock. The season of 1907-08, 
Miss Drew was seen in the support of Ethel Barrymore, doing what was 
conceded to be the best work of her career as Miss Minety in “ Her Sister,” 
an admirable bit of comedy acting. 







September 25 St. John Hankin 

'T’HE name of St. John Hankin is rapidly taking a foremost place among 
* England’s leading dramatists, and there is small doubt that his wares 
will soon become equally as well known upon this side of the Atlantic. 
And at that his name has some slight significance to our theatregoers, for 
one of his plays has had a Broadway hearing, but its reception did not 
warrant a protracted run. Reference is made to “ The Two Mr. Wetherbys,” 
produced at the Madison Square Theatre in August, 1906, with a cast headed 
by William Hawtrey and May Tully, and. though it proved to be an enter¬ 
taining and skillfully written little comedy, the public, for some reason or 
other, would have nothing to do with it, and it was soon withdrawn. Mr. 
Hankin was born in Southampton, England, and educated at Malvern and 
Merton College, Oxford. In his early career he was a journalist, writing for 
all the leading English, publications. Mr. Hankin’s first play was “ The 
Two Mr. Wetherbys,” which was produced on the other side in 1902. His 
next effort was “ The Return of the Prodigal,” 1905, which Granville 
Barker and J. E. Vedrenne produced at the Court Theatre, the principal 
players being A. E. Matthews, J. H. Barnes and Florence Haydon, and 
these same managers brought out his next play, “ The Charity that Begins at 
Home,” 1906, its principal interpreters being Ben Webster, Edmund Gwenn 
and Florence Haydon. Mr. Hankin’s most recent effort was “ The Cassilis 
Engagement,” 1907, produced at the Imperial, the cast including Sam 
Sothern, Langhorne Burton and Florence Haydon, who certainly appears 
to have the Hankin habit. His plays have the happy knack of originality, 
plus crisp, bright dialogue, and his future as a dramatist appears to be well 
assured. 


215 


September 26 Ann Warrington 

A N undeniably capable actress is Ann Warrington, one of sound expe¬ 
rience and a firm grasp of the technique of her art. She has done many 
excellent things during her stage career, indeed far more than many 
people know, for much of her best work has been done with the better class of 
traveling companies. For instance, Miss Warrington has been notably suc¬ 
cessful in the production of “ The Sporting Duchess,” in which she played 

the title role in one instance and the 
adventuress, Vivian Darville, upon 
another, showing her versatile pow¬ 
ers. She was a particularly dashing 
Duchess of Strood in “ The Gay 
Lord Quex,” and created Mrs. Lor- 
ing in “ Money Talks,” with the 
Century Theatre Players. Among 
the parts in which Broadway will 
best recall Miss Warrington, one 
may mention Ella Bentheim in 
“ John Gabriel Borkman,” with the 
Criterion Independent Theatre Com¬ 
pany, at the Madison Square Thea¬ 
tre, a particularly able and sympa¬ 
thetic portrayal; Ellen Champe in 
“ We ’Uns of Tennessee,” at the 
American Theatre; Josephine Denby 
in “ The Point of View,” at Mrs. 
Osborn’s Play-house; Mrs. Searles 
in “John Ermine of the Yellow¬ 
stone,” supporting James K. Hack- 
ett; and as Rose Warner in “ Richter’s Wife,” with Julie and Chrystal 
Herne, sweet, gentle womanliness being the central keynote of each 
of these portrayals. Of a widely different sort was her voluble Mrs. 
Colquhoun in “ All-of-a-Sudden Peggy,” with Henrietta Crosman, in which 
she completely dominated her single scene and carried off many of the 
honors of the performance, though in less gifted hands the part would 
probably have passed unnoticed, and which in the London production did 
pass unnoticed. It was Miss Warrington’s work in this role that won for 
her the position of leading woman in Virginia Harned’s company, and 
as the unprincipled Countess Miagkaia in “ Anna Karenina,” the season of 
1907-08, she demonstrated her right to permanent Broadway acclaim, being 
highly praised by press and public, and will unquestionably be enrolled among 
New York’s favorite actresses in seasons to come. Later in this season she 
played a leading part in the Western production of “ The Witching Hour.” 
Miss Warrington, of handsome and commanding appearance, with a most 
winning, gracious smile, has been a mosit faithful servitor to her profession 
and she has won her position by talent, backed up by industry and perse- 
verence. 



216 




September 27 


Harry Burkhardt 


TIARRY BURKHARDT enjoys considerable favor as an actor of lead- 
A A ing and juvenile roles and his career has been replete with any number 
of praiseworthy achievements. He has particularly distinguished him¬ 
self in the stock-company field, having been identified with several of our 
most prominent organizations, and he is numbered among the lucky actors 
who find a ready demand for their services each season. It is only necessary 
to quote a few of the many important engagements that Mr. Burkhardt 
has filled in order to prove his calibre as an actor. ,*Among the stock 
companies with which he has been identified, one may mention: the Fore- 
paugh Stock, Philadelphia; the Columbia Theatre Stock, Newark, N. J.; 
Criterion Stock, St. Paul, Minn.; Dearborn Stock, Chicago; both the 
Koerner’s Garden Stock and West End Heights Stock, St. Louis; the De 
Witt Company, Baltimore; Forepaugh Stock, Cincinnati; Albee Stock, Paw¬ 
tucket, R. I., and the Poli Company, Springfield, Mass. He has also appeared 
from time to time with such well-known stars and productions as Andrew 
Mack in “ Myles Aroon,” Selma Herman in “ A Young Wife,” Neil Burgess 
in “ The County Fair,” Rose Coghlan in “ Peg Woffington,” Percy Haswell in 
“ A Royal Family,” in Broadhurst’s production of “ The Holy City,” in 
the original production of “ The Virginian,” at the Manhattan; with Guy 
Standing in “ A Society Policeman,” Beulah Poynter in “ Lena Rivers,” 
in “ The Spoilers,” at the New York, and with Herbert Kelcey and Effie 
Shannon as Dr. Trench in Bernard Shaw’s “Widowers’ Houses.” The 
season of 1907-08, Mr. Burkhardt was seen in the support of Otis Skinner 
in “ The Honor of the Family.” He is an earnestly sincere young actor, 
always to be relied upon to do his very best in each role, and small wonder 
that he finds himself in demand. 






Milton Nobles 


28 


A LTHOUGH Milton Nobles is by no means as conspicuous in stage circles 
these days as he was a few years ago, his name still has a potent sound 
to it, especially to those of our theatregoers who can recall the days 
of his greater glories. It was in Cincinnati, Ohio, that Mr. Nobles came into 
the world, his family name being Tamey. The early part of his stage career 
was devoted to a thorough schooling under the old-fashioned stock system, 
gaining a round of excellent experience in classic and legitimate roles. It 
was about thirty years ago that Mr. Nobles began starring at the head of 
his own company, and for two-thirds of this time he enjoyed a great amount 
of success, a few of his best known offerings being: “ The Phoenix,” “ From 
Sire to Son,” “ For Revenue Only,” “ A Man of the People ” and “ The 
Interview.” In June, 1881, Mr. Nobles married Dollie Woolwine, a mem¬ 
ber of his supporting company, and thereafter they were billed as co-stars. 
They have a son, Milton Nobles, Jr., who has already embraced the pro¬ 
fession of his parents. About a dozen years ago Mr. and Mrs. Nobles 
invaded the vaudeville field, and from the very outset their efforts met with 
appreciation, they being among the very first of the “ legitimate ” actors 
to take the vaudeville plunge, and it is a fine tribute to their talents that 
they have continued successfully in this line ever since. 


217 


Irene Moore 


September 29 

A S refreshing as a spring day, with all the delightful charm of youth 
and ingenuous girlhood, Irene Moore has started upon a stage career 
that promises to see the fulfillment of her fondest hopes and ambi¬ 
tions. Though she has been in the public eye only a little over a year, yet 
she has demonstrated her right to acceptance with our long-established stage 
favorites, displaying a naive charm in several ingenue parts that places her 

far above the ordinary run of act¬ 
resses of this type of role. Added 
to this she has brains, perceptive in¬ 
telligence, ambition and a supera¬ 
bundance of youth, for it will be 
several years yet before she passes 
her ’teens. A member of a family 
distinguished in politics and affairs 
of state, Miss Moore came into the 
world in Kansas City, Mo., being a 
daughter of the late Crawford 
Moore, a prominent banker of that 
city. On her mother’s side she is 
related to Colonel J. C. Bowker, of 
Atlanta. Ga., who distinguished him¬ 
self in the War of the Rebellion, 
while her paternal grandfather, Cap¬ 
tain Crawford Moore, represented 
Missouri in the Senate for two 
terms. Miss Moore is a graduate of 
Bethany College, Topeka, Kan., 
carrying off high honors when but 
a youngster of fifteen. Two years previous to this she received her 
first taste of theatricals, playing Meenie in “ Rip Van Winkle,” with 
the Woodward Stock Company, in her native city. Upon the death of 
her father, which occurred about this time, Miss Moore, accompanied by 
her mother, went to Europe, traveling extensively for two years in their 
own private touring car. She also devoted not a little time to study and 
preparation for her stage career. Returning to America, in the spring of 
1907, Miss Moore was immediately engaged to play leading ingenue parts 
with the William Morris Stock Company, at the Lincoln Square Theatre. 
She was a member of his company five weeks, doing exceptionally good 
work in such parts as Flora in “The Holy City,” Eileen O’Brien in “When 
We Were Twenty-one,” Dora Prescott in “Men and Women,” and Kaite 
in “ The Lost Paradise.” It was during this engagement that Miss Moore 
came under the notice of James K. Hackett and he engaged her to create, 
in this country, the role of Dora Longman in “ John Glayde’s Honour.” 
And as one critic tersely put it, “ She was the one bright spot in the piece,” 
while Amy Leslie declared her to be “ as delightful as a breath of fresh 
air.” Miss Moore was then engaged for the star cast that presented “ Twenty 
Days in the Shade,” in Chicago, in April, 1908. Miss Moore, who has 
exquisite taste in the matter of dress, always being perfectly gowned, cer¬ 
tainly has all things in her favor, being skilled as a musician and having com¬ 
mand of four languages, and her future will unquestionably reveal only 
brilliant results. 






Wilton Lackaye 


September 30 

W ILTON LACKAYE has held an unquestioned and undisputed position 
as one of America’s representative actors for the past twenty years, 
and his name has been associated- with some of the greatest stage 
successes of the present age. His career has been of remarkable activity and 
few actors have created more parts than he. Born in Loudoun County, 
Virginia, and originally intended for the priesthood, Mr. Lackaye was edu¬ 
cated at an Ottawa college and at 
Georgetown University. He began his 
stage career in 1883 as Lucentio in 
“ Francesca Da Rimini,” with Law¬ 
rence Barrett, followed by a season 
each with Carrie Swain and in 
“ May Blossom.” He spent the sea¬ 
son of 1886-87 in Fanny Davenport’s 
company, appearing in “ Much Ado 
About Nothing,” “ Fedora ” and 
“ As You Like It.” The season of 
1887-88, Mr. Lackaye was in “ Allan 
Dare,” “ She ” and “ Paul Kauvar ” ; 
season of 1888-89, in “ The Silver 
King,” with Rose Coghlan in “ Joce¬ 
lyn ” and Minnie Maddern in 

“ Featherbrain ” ; season of 1889-90, 
with Kate Claxton in “ Booties’ 

Baliy,” in “ Shenandoah,” with the 
Terriss - Millward combination in 

“ Roger La Honte,” with Daly’s 
company in “ The Great Unknown,” 
in “ My Jack ” and in “ Money 
Mad”; season of 1890-91, with Mc¬ 
Kee Rankin in “ The Canuck,” in “ The Clemenceau Case,” “ Dr. 
Bill,” “ Nero,” with Kate Claxton in “ The Two Orphans,” and in 
“ The Power of the Press.” He began the season following in London with 
George Alexander in “ The Idler,” soon returning to this country to support 
Sadie Martinot in “Pompadour,” was next in “Mr. Wilkinson’s Widows” 
and then in “ Imagination.” Mr. Lackaye was next in “ Aristcfcracy ” for 
two years, supplemented by a term with Palmer’s stock company. He 
began the season of 1894-95 in “ New Blood,” then appeared with Olga 
Nethersole in “ The Transgressor,” next with Annie Russell in “ The New 
Woman,” then in “ The District Attorney ” and in April, 1905, he created 
Svengali in “ Trilby.” He was identified with this part for over two years, 
followed by a starring season in “ Dr. Belgraff.” He was then leading man 
with Nance O’Neil, and appeared in the star-cast of “ The Musketeers.” 
The season of 1899-00, he was “ Reb ” Shemuel in “ The Children of the 
Ghetto,” followed by a busy season with Mrs. Le Moyne in “ The Greatest 
Thing in the World,” in “ Quo Vadis,” “ The Price of Peace ” and “ Uncle 
Tom’s Cabin.” Mr. Lackaye started out the next year with James K. 
Hackett in “ Don Caesar’s Return,” was next in “ Colorado ” and with Amelia 
Bingham in “ A Modern Magdalen,” remaining with Miss Bingham all of 
the next year, in “ The Frisky Mrs. Johnson ” and other plays. In the 
fall of 1903, Mr. Lackaye permanently entered the stellar ranks, and was 
seen for three years in “ The Pit,” with a brief revival of “ Trilby,” fol¬ 
lowed by a season in “ The Law and the Man,” and, 1907-08, he toured in 
“ The Bondman.” A marvelously busy career this, one indicative of the 
exceptional histrionic powers of Mr. Lackaye. 



219 



















































































■ 
































































































































. • 






































MRS. G. H. GILBERT. 


Born, October 21, 1821. 


Died, December 2, 1904. 

























































































































i 























♦ 






























October I 


Guelma Baker 

UELMA BAKER has met with far more than ordinary success as a 
light-opera singer, being blessed with a sweet, girlish personality and 
a clear, true soprano voice, which have helped considerably to make 
her professional pathway smoother for her. She is an energetic, ambitious 
young woman, with an uncommon fund of good, sound talent, and she 
deserves every success in her chosen profession. Miss Baker is a California 
girl, hailing from Los Angeles. She began her theatrical career the season 
of 1899-00 as a member of Modjeska’s company, being a special protege of 
John C. Fisher, himself a Californian and manager for the Polish actress 
that season. Miss Baker made her Broadway debut in the spring of 1900, 
appearing at the Fifth Avenue Theatre as Marie Therese in “ Marie 
Antoinette,” supporting Modjeska. The season of 1900-01, she appeared at 
the Casino as Velleda, the maid, in “ Florodora,” also acting as under¬ 
study to May Edouin in the part of Angela Gilfain and played the role 
upon several occasions. Indeed, Miss Baker made so excellent an im¬ 
pression as Angela that she was permanently entrusted with the part the 
following season in the “ Florodora ” company that toured the larger 
Eastern cities. She re-appeared on Broadway in the fall of 1903, playing 
at Wallack’s as Lutie Plummer in “ Peggy from Paris,” after which she 
was seen in the burlesque, “ All ’Round Chicago,” in the city of that name. 
Miss Baker then made an extended tour of the West in one of the principal 
roles in “ The Umpire,” and the season of 1907-08, she was first seen at 
the Circle Theatre as Helen Hunt in “ Two Islands,” and then sang important 
parts with the Aborn Opera Company. 




October 2 


Harrison Brockbank 


H ARRISON BROCKBANK is a leading light in England’s music hall 
world, and an odd thing it is that he has never been imported to this 
country, especially in this age of vaudeville competition when rival 
managers are falling over each other in their efforts to secure novelties 
on the other side. However, he is immensely popular in his native coun¬ 
try, being held in high esteem as an operatic artist, and his services are 


pretty much in demand all the time, in either London or the provinces. 
Mr. Brockbank was born in Liverpool, and during the days of his youth 
was ambitious to become a painter. Upon his discovery that he had an 
excellent singing voice he turned his time and attention to its cultivation, 
studying under the well-known teacher, Franco Leoni. He made his debut 
in 1887, with the Rousby Opera Company, singing in “ The Bohemian Girl.” 
and during his first years before the public he was identified with concerts 
and the grand-opera stage, assisting Patti, and was at Covent Garden one 
season. Mr. Brockbank was finally lured over to the light opera staee and 
participated in many London and provincial productions. He received special 
overtures to sing Kipling and Sullivan’s “ Absent Minded Beggar,” in the 
music halls about a half-dozen years ago, and such was his success that he 
has continued in this line practically ever since. He frequently appears in 
the pantomimes around Christmas time, and in 1907 he was seen at Drury 
Lane as Friar Tuck in “ The Babes in the Wood,” adding further to his 


reputation. 


October 3 


Louis James 


I OUIS JAMES is a loyal devotee of the classic drama in every sense 
1 of the word, and his entire theatrical career has been devoted to plays 
of a serious and intellectual order. He has been before the public 
forty-five years in all, during which time he has upheld the finest of stage 
traditions, and has for many years been one of our leading stellar lights. 
Mr. Janies Was born in Fremont, Ill., and began his stage career in 1863 
as a member of Macauley’s Stock Company in Louisville, Ky. He then 
joined Mrs. John Drew’s Company at the Arch Street Theatre, Philadelphia, 
where he remained six years. Mr. James next joined the'forces of Augustin 
Daly, opening with his company, September 5, 1871, and remained with 
Daly for four years, a few of his biggest successes being: Henry Delille in 
“ Article 47,” Master Page in “ The Merry Wives of Windsor,” Joseph 
Surface in “ The School for Scandal,” Major Whist in “ Saratoga,” Bill 
Sikes in “Oliver Twist” and Young Marlowe in “She Stoops to Conquer.” 
For a long time after this he played leads at McVicker’s Theatre, Chicago, 
and at Maguire’s Theatre, San Francisco. In 1881, and for five years 
altogether, Mr. James was principal support to Lawrence Barrett, especially 
distinguishing himself in the role of Pepe in “ Francesca da Rimini.” He 
then co-starred with Marie Wainwright, from 1886 to 1889, presenting a large 
repertoire consisting of “ Virginius,” “ Othello,” “ Ingomar,” “ As You Like 
It,” “ Much Ado About Nothing,” “ The Love Chase,” etc. Mr. James 
branched out as an individual star in 1889, and he has been seen at the head 
of his own company ever since, having made many co-starring tours in 
conjunction with such players as Frederick Warde, Kathryn Kidder and 
Madame Modjeska. The season of 1904-05, he played Jacques in the star-cast 
of “The Two Orphans,” afterward playing Hardcastle in the Bellew-Robson 
revival of “ She Stoops to Conquer.” The season of 1905-06, Mr. James 
was seen on tour in “ Virginius,” “ The Merchant of Venice ” and “ Ingo¬ 
mar ”; during 1906-07, his principal offering was “ The Merry Wives of 
Windsor ”; and, 1907-08, he played “ The Comedy of Errors,” “ The Mer¬ 
chant of Venice ” and “ The Merry Wives of Windsor.” A few other 
Shakespearean plays, in which he has appeared from time to time, are: 
“Julius Caesar,” “Hamlet,” “Macbeth,” “King John” “The Winter’s Tale,” 
“A Midsummer Night’s Dream,” “Henry VIII.” and “The Tempest.” 
Mr. James is a scholarly, dignified ornament to his profession, and he deserves 
every ''i-edit for the position he has so long upheld. 


4 s # 


O’er hill and field October’s glories fade; 

O’er hill and field the blackbirds southward fly; 
The brown leaves rustle down the forest glade 
Where naked branches make a fitful shade, 

And the lost blooms of Autumn withered lie. 


—George Arnold’s “ October.” 


October 4 


Arnold Daly 

r^VESPITE his idiosyncrasies and eccentricities, many of which are merely 
the pose of the moment, Arnold Daly is one of the very best actors 
on the American stage to-day, and few players there are who have 
given such a consistently excellent list of portrayals to our stage. Though 
the plays in which he has figured have met with defeat in many instances, 
he, himself, has yet to give his first poor performance. Mr. Daly came into 
the world in Brooklyn, N. Y., his 
parents being Joseph J. and Mary 
Daly, and he was christened Peter 
Christopher Arnold. After rather a 
haphazard schooling, gained princi¬ 
pally at the Academy of the Sacred 
Heart and St. Patrick’s Academy, 

Brooklyn, he became office-boy in 
the employ of Charles Frohman, 
thus coming in contact with stage 
affairs. Mr. Daly started up the 
stage ladder in an acting capacity in 
1893 with Fanny Rice in “ The Jolly 
Squire,” later on supporting Agnes 
Herndon in “ La Belle Marie ” and 
“ Married, Not Mated.” He then 
spent one season each on tour in 
“ Aristocracy ” and “ The Girl I 
Left Behind Me.” The season of 
1896-97, Mr. Daly first played Cham¬ 
bers in “ Pudd’nhead Wilson,” sup¬ 
porting Theodore Hamilton; was 
then with William Barry in “ John Bradley’s Money ”; and appeared in 
St. Paul, Minn., with the Giffen-Neill Stock. The next year he played 
Wilfred Varney in a road company of “ Secret Service,” afterward 
going to London with William Gillette in “ Too Much Johpson.” The 
two years following this he appeared in the respective productions of 
“ Because She Loved Him So,” and “ Barbara Frietchie,” supporting Julia 
Marlowe, and then came a season divided between “ Self and Lady ” and 
“ Are You a Mason? ” Mr. Daly began the season of 1901-02 in London with 
Nat Goodwin and Maxine Elliott in “ When We Were Twenty-one,” re¬ 
turning to this country to appear with Amelia Bingham in “ Lady Margaret ” 
and Elsie de Wolfe in “ The Way of the World.” He had a busy time 
of it the next season in “ Hearts Aflame,” “ The Bird in the Cage,” “ Cyn¬ 
thia,” supporting Miss de Wolfe, and “ A Fool and His Money.” In the 
fall of 1903, Mr. Daly appeared on tour with Irene Bentley in “ The Girl 
from Dixie,” and was later with Arthur Byron in “ Major Andre.” He 
made his debut as a star on December 9, 1903, presenting “ Candida ” at 
special matinees, meeting with instant recognition, and since then he has 
produced the following plays: “ The Man of Destiny,” “ How He Lied to 
Her Husband,” “You Never Can Tell,” “John Bull’s Other Island,” “Mrs. 
Warren’s Profession” and “Arms and the Man’’—all by Bernard Shaw. 
He has also produced a number of one-act plays, and for a brief time was 
seen in “ The Boys of Co. B.” He leased the Berkeley Lyceum Theatre 
in the fall of 1907, endeavoring to conduct it along the lines of the Theatre 
Antoine, but met with defeat, and afterward toured in a piece called “ The 
Regeneration.” 



225 




October 5 


Louise Dresser 


'“THE name of Louise Dresser has come conspicuously before Broadway 
*■ theatregoers within the past two seasons, and its possessor has proven 
herself to be a singing comedienne of the first calibre, one of unusual 
attainments and exceptional artistic promise. She has won a place for 
herself upon the strength of an impregnable combination—beauty, brains 
and talent, added to youth and exceptional taste in the matter of dress,—and 

these have greatly aided in making 
easy her professional pathway. Al¬ 
though of comparatively recent 
Broadway prominence, Miss Dresser 
is in no sense of the word a stage 
novitiate—one has but to note her 
ease and poise, her complete self- 
possession, when in the glare of the 
footlights to know that fact. She is 
an Ohio girl, hailing from Colum¬ 
bus, her own name being Louise 
Kerlin, and her family were among 
the early settlers of the Middle 
West, having lived for years at 
Terre Haute, Indiana. Through her 
brother, the late Paul Dresser, the 
well-known composer, she came in 
touch with things theatrical and de¬ 
cided to follow a stage career. She 
made her debut upon the vaudeville 
stage about six or seven years ago, 
under the guidance of J. K. Burke, 
at which time her brother’s song, “ On the Banks of the Wabash,” was 
enjoying phenomenal popularity and she was billed as “ The Girl from 
the Wabash,” by which title she was known to vaudeville patrons during 
her entire stay in that field of endeavor. Miss Dresser was uncommonly 
successful in vaudeville, her fresh, wholesome personality and repertoire 
of clever songs rather placing her in a class by herself. Upon only one 
previous occasion did she vary her term in vaudeville, and that was the 
season of 1902-03 when she created the role of Ernie in “ California,” a 
comedy-drama which toured through the Central States with considerable 
success. It was Lew M. Fields and the Shuberts who finally lured Miss 
Dresser from vaudeville, and she made her Broadway debut in the fall 
of 1906, playing Gertrude Gibson in “About Town,” supporting Mr. Fields. 
Her success was immediate; indeed, one need ask no further proof than 
that she was one of two of the stellar principals of that production to be 
retained a second season by Mr. Fields, and as Millie Mostyn in “ The Girl 
Behind the Counter” she was largely responsible for much of the great 
success enjoyed by that piece. Miss Dresser has come to Broadway to 
stay, she has proven herself most worthy of Broadway approval and her 
future career will unquestionably disclose many brilliant achievements. 



226 



October 6 


Ida Jeffreys Goodfriend 

A LTHOUGH Ida Jeffreys Goodfriend dropped out of the theatrical run- 
ning quite some years ago, she is by no means forgotten by the theatre¬ 
going public, many of whom recall her with genuine pleasure as an 
actress of grande dame roles and an Ibsen pioneer. She won quite a large 
circle of admirers during her stage career by the finished poise and tech¬ 
nical skill always to be found in her acting, and as she has made no declara¬ 
tion of her permanent retirement from the footlights, those interested in 
her career are a unit in hoping that she may resume her work again. Mrs. 
Goodfriend made her debut as an actress, under her maiden name of Ida 
Jeffreys, at the Union Square Theatre on March 21, 1876, appearing with 
the stock company as Madame d’Artigues in “ Ferriol,” the title role being 
played by Charles R. Thorne, Jr. The following September she was seen 
with the Park Theatre Company as Cora in “ Clouds,” and in December 
of that same year she was at the Grand Opera House with J. B. Atwater 
and Lettie Allen in “ The Crabbed Age.” Mrs. Goodfriend then joined 
the forces of Mr. and Mrs. McKee Rankin, playing Sallie Sloan in “ The 
Danites,” after which she was with Maggie Mitchell in “ Fanchon,” “ Mig- 
non,” “ The Pearl of Savoy,” etc. She played many numerous engage¬ 
ments after this, among others, with Mr. and Mrs. George S. Knight in 
“ Baron Rudolph ” and with Helen Hastings in “ Pen and Ink.” In 1888, 
Mrs. Goodfriend appeared in the melodrama, “ Lights and Shadows,” in 
which she played a triple role, Mother Meg, Madame Gerard and Jeannette, 
scoring a big success in this piece and was identified with it for several 
years. Mrs. Goodfriend, in company with Courtney Thorpe, was the first 
to produce Ibsen’s “ Ghosts ” in this country, which she brought out at 
the Garden Theatre, January 25, 1894, her acting of the role of Mrs. Alving 
winning most favorable comment. Just previous to this she married Si. 
Goodfriend, the well-known theatrical manager, and during the past ten 
years has only appeared at very rare intervals. For instance, the early winter 
of 1901 she made a Southern tour as Mrs. Mainwaring, Sr., in “ My Daugh- 
ter-in-Law ”; in the spring of 1905 she was Lady Speakill in “ The School 
for Husbands,” with Alice Fischer; and the following spring played Mrs. 
Solness in a special matinee of “ The Master Builder,” at the Madison Square 
Theatre. 


The sweet, calm sunshine of October now 
Warms the low spot; upon its grassy mould 
The purple oak-leaf falls ; 

The birchen bough 

Drops its bright spoil like arrow-heads of gold. 

—Bryant’s “ October, 1866.’ 


Viola Gillette 


October 7 

V IOLA GILLETTE is one of the most talented and distinguished light- 
opera singers on the American stage to-day. With a mezzo-soprano 
voice of exceptional power and sweetness, of a most unusual range 
and beauty, she has the first requisite for an operatic career, added to the 
virtues of a magnetic, womanly personality and one of the most beautiful 
figures ever seen behind the footlights. Miss Gillette may feel proud of the 

name she has made for herself, and it is an 
actual pleasure to chronicle the fact that this 
lias been gained by her talents alone, plus her 
determination to succeed. A native of Salt Lake 
City, Utah, her family name being Pratt, she was 
a well-known church and concert singer in her 
home town before adopting the stage as a pro¬ 
fession. She made her stage debut with a summer 
opera company in Washington, D. C., in 1898, im¬ 
mediately afterward securing an engagement under 
Frank McKee to tour Australia and New Zea¬ 
land. where she remained a year. She sang in 
l he Royal Opera there, under the management 
of Williamson and Musgrove, her repertoire in¬ 
cluding Alan-a-Dale in “ Robin Hood ” and ten 
grand operas, one of her best parts being Ortrud 
in “ Lohengrin.” Miss Gillette scored her first 
success in this country, the season of 1900-01, as 
prima donna with Alice Nielsen, playing Pompon 
in “ The Fortune Teller ” and Marie in “ The 
Singing Girl,” accompanying Miss Nielsen abroad 
for her engagement at the Shaftesbury Theatre, 
London. The three years following this Miss 
Gillette was a popular member of the Klaw and 
Erlanger forces, appearing two seasons as Prince 
Charming in “ The Sleeping Beauty and the Beast ” and one as Colin 
in “ Mother Goose,” completely winning the Broadway public by her work 
in these roles. She then made her debut as a star, and for three years, 
two under Frank L. Perlev’s direction and one as an independent mana¬ 
geress, she toured the principal cities of the Southern and Middle Western 
States in the comic opera success, “ The Girl and the Bandit.” Tiring 
of the rigors of travel, the season of 1907-08, Miss Gillette, accompanied 
by George J. MacFarlane, was seen in vaudeville in a musical sketch, meet¬ 
ing with every deserved success. She is a clever, ambitious woman, with 
talents far above the ordinary, and the many personal successes that she 
has known have merely been the homage and fitting tribute to one of the 
cleverest artists in the operatic firmament. 



r 


Yellow leaves, how fast they flutter—woodland hollows thickly 
strewing, 

Where the wan October sunbeams scantly in the midday win, 
While the dim gray clouds are drifting, and in saddened hues imbuing 
All without and all within! 


228 


—Jean Ingelow. 



October 8 


Nance O’Neil 


A TRUE and faithful devotee to her profession, loyal and unswerving, with 
**all the ardent enthusiasm of the born actress, Nance O’Neil has ever 
been steadfast to the highest ideals, bringing to her varied interpreta¬ 
tions exceptional charm of personality, tremendous emotional power and 
force, the rare technical skill that hides its own technique and a flood of 
temperamental sympathy that proclaims her the consummate artiste she 
really is. A native of California, 
born in Oakland, Miss O’Neil is a 
descendant of a sturdy New Eng¬ 
land family, several of the members 
of which distinguished themselves 
in the Revolution. On her paternal 
side she is descended from a famous 
Danish Lieutenant, while her mother 
was of Southern extraction. After 
graduating from Snell’s Seminary in 
California, Miss O'Neil made her 
debut at the Alcazar Theatre, San 
Francisco, playing a fourteen-line 
part of a nun in a piece called 
“ Sarah,” under the management of 
McKee Rankin. After a few weeks 
in ’Frisco, she toured California in 
“ The Danites,” and then joined the 
Burbank Stock, Los Angeles. She 
then spent a season in stock in Den¬ 
ver, followed by a tour of the South 
in a repertoire of farces, such as 
“ The Snowball ” and “ The Private Secretary.” Coming East, Miss 
O’Neil scored her first success as Geraldine in “ A Bachelor’s Baby” at 
Washington, D. C., with Mr. Rankin and Mr. and Mrs. Sydney Drew. 
After appearing in a play from the German of Wilbrandt and “ True 
to Life,” she made her stellar debut in 1898, and during the intervening 
time she has gained a repertoire of parts unequaled by any other star to-day 
during that same period, some of her roles being Lady Macbeth, Juliet, 
Rosalind, Viola, Magda, Leah, Nancy Sikes, Camille, Lady Isabel, Trilby, 
Parthenia, Fedora, La Tosca, Lady Teazle, Meg Merillies, Elizabeth, Judith, 
Hedda Gabler, Lady Inger of Ostate, Tess of the D’Urbervilles, Marie in 
“ The Fires of St. John,” Rebecca West in “ Rosmersholm,” Monna Vanna, 
Zoraya in “ The Sorceress ” and Cleo. Of Miss 0 ”Neil’s Tosca, one critic 
pronounced it, “ One of the three best Toscas ever seen on the stage.” 
Her professional travels have included the entire United States, and visits 
to Honolulu, Australia, South Africa, Egypt and London, being received 
with open arms in these countries, and she will shortly resume starring, pre¬ 
senting a modern play, “ Agnes,” by George Cameron. Miss O’Neil, than 
whom there is no more beautiful or imposing actress on the stage to-day, 
one of her greatest charms being her attractive, resonant voice, has fought 
bravely, overcoming many obstacles, to win public approbation, and a splendid 
thing it is that she has gained her position solely by dint of study and hard 
work, without the aid of money or influence. May her star shine resplendent 
for many years to come! Miss O’Neil was amongst the very first to give an 
Ibsen performance. 





October 9 


Francis Yale 


A MONG the many players who devote their talents to road companies 
and traveling combinations, the name of Francis Yale looms up con¬ 
spicuously as a young leading man who has always done good work 
in organizations of this sort. Mayhap some day he will get a Broadway 
chance, with a good part in a worthy production, and then his talents will 
be more generally acknowledged, although many have been the successes 
that he has gained outside the metropolis. He is a reliable, dependable 
actor, one whose experience, though rather rugged and not free of hardships, 
has been of the best, and he is now probably well prepared to meet his 
day of greater opportunity. Mr. Yale is a Californian, his home being in 
Los Angeles. After several years of novitiate stage experience, he first 
attracted attention in the stage world in the title role of “ Faust,” which 
he played several years in the support of Lewis Morrison. He was next 
seen with Elizabeth Kennedy as Charles Lamartine in “ Captain Jinks of 
the Horse Marines,” touring the South and West. In 1904, Mr. Yale created 
the role of the hero, 'John Drew, in the Kremer melodrama, “ Fast Life in 
New York,” and the next year was seen on the road in “ Marching Through 
Georgia.” He then played Tilford Wheeler in the Savage production of 
“ The County Chairman,” and, during 1907-08, he was seen in vaudeville as 
principal support to Frederic Bond and Fremont Benton in the sketch, 
“ Handkerchief No. 13.” A modest and goodly professional record this, 
and Mr. Yale may pride himself upon doing his level best with whatever 
material at hand. 




October 1 0 


Herbert Kelcey 


TTERBERT KELCEY has been an important factor in American stage 
1 1 affairs for the past twenty-six years, and he has maintained an excellent 
standard of acting that many a young player would do well to follow. 
His has been a busy career, replete with excellent achievements, and a splen¬ 
did thing it is that he continues to hold his own with our theatrelovers. Born 
in London, England, Mr. Kelcey began his stage career at Brighton in 1877 
in “ Flirtation.” He made his London debut on October 4, 1880, at the 
Royalty Theatre in “ Bow Bells,” later appearing in “ Peggy,” was then at 
Drury Lane in “Youth” and appeared on tour in “The Lights o’ London.” 
He made his first appearance on the American stage the season of 1882-83, 
and during his first five years in this country he alternated his time between 
Wallack’s company and the Madison Square Theatre Company, a few of his 
biggest successes being in “ The Silver King,” “ Called Back,” “ The Private 
Secretary,” “ Diplomacy,” “ Sealed Instructions,” “Saints and Sinners” 
“ Harvest ” and “ Harbor Lights.” Mr. Kelcey became leading man of 
the Lyceum Theatre Company on September 19, 1887, a position he held eight 
years, appearing in: “ The Great Pink Pearl.” “ The Wife,” “ Sweet 
Lavender,” “ The Marquis,” “ The Charity Ball,” “ The Idler,” “ Nerves ” 
41 Old Heads and Young Hearts,” “ Lady Bountiful,” “ Squire Kate ” “ Merry 
Gotham,” “The Grey Mare,” “Americans Abroad,” “The Guardsman” 
4 ‘ The American Duchess,” “ Our Country Cousins,” “ The Amazons,” “ A 
Woman’s Silence,” “ The Case of Rebellious Susan,” “ An Ideal Husband ” 
“ Fortune,” “ The Home Secretary,” “ The Benefit of the Doubt ” and “ The 
Prisoner of Zenda.” The season of 1896-97, Mr. Kelcey was leading man 
with Mrs. Leslie Carter in “ The Heart of Maryland,” and the next season 
lie entered upon a co-starring arrangement with Effie Shannon, which has 
lasted ever since. (For the list of their stellar vehicles, see Miss Shannon’s 
biography under date of May 13.) 


230 


October 1 1 


Nellie Beaumont 


N entertaining and diverting comedienne is Nellie Beaumont, one whose 
popularity is ever on the increase and each season finds her more of 
a public favorite than ever. By her work in “ The Hoyden,” in the 
support of Elsie Janis, the season of 1907-08, she easily proved one of 
the most magnetic comedy actresses on the New York stage, her dashing 
impersonation of the French actress, Rita Santacierci, winning adulation 
upon all sides, and her singing of the song, “ Ad¬ 
vertising,” with her many individual, original 
touches, proved one of the biggest hits of the 
performance, quite taking rank with the famed 
imitations of Miss Janis herself. Miss Beaumont 
is an English girl, born at Ramsgate, and she is 
a sister of Rose Beaumont, of musical-comedy 
fame. As the Beaumont Sisters, these clever girls 
enjoyed exceptional favor in the vaudeville world, 
and as singers and dancers they had few equals 
in their line. They joined the forces of Weber 
and Fields in 1896, being members of the first 
company that surrounded these comedians at 
the Broadway Music Hall, and for three con¬ 
secutive seasons they were, numbered among the 
biggest favorites at that bijou amusement place. 

The Beaumont Sisters made their last joint ap¬ 
pearance the season of 1899-00, appearing in 
“ ManTselle ’Awkins,” and since then Miss Nellie 
has been progressing steadily in her professional 
career. She was leading lady with Kelly and 
Mason in “In Wall Street,” being most capti¬ 
vating in the role of Georgette Jollier, and she 
played in Buffalo throughout the entire Pan- 
American Exposition in the leading feminine role 
in “ A Trip to Buffalo.” Miss Beaumont then appeared under the manage¬ 
ment of Al. Aarons, scoring notably in “ My Antoinette ” and “ The Knick¬ 
erbocker Girl,” after which she played Tessie Tiptoe in “ The Awakening 
of Mr. Pipp,” supporting Charles Grapewin for two' seasons. The season 
of 1905-06, she succeeded Cecilia Loftus as the star in Israel Zangwill’s 
“ The Serio-Comic Governess,” followed by a season as a vaudeville head¬ 
liner, and then came her successful appearance in “ The Hoyden.” Miss 
Beaumont, alert, dashing and thoroughly easy and graceful when before 
the footlights, has earnestly sought to give her public the best of her 
talents, and it is good to see that her efforts in this respect have met with 
praise and approbation. 




Bending above the spicy woods which blaze 
Arch skies so blue they flash, and hold the sun 
Immeasurably far; the waters run 
Too slow, so freighted are the river-ways 
With gold of elms and birches from the maze 
Of forests. 

—Helen Hunt Jackson. 


231 




October 1 2 


Helen Hale 


' I ’HE stellar stage history of to-morrow will unquestionably contain the 
name of Helen Hale, a prediction made some time ago and which is 
probably now upon the eve of fulfillment. Certainly few of the younger 
generation of operatic favorites are better equipped than she to battle for 
stellar glories, youth, wonderful magnetism, vivacity and a most winning 
personality, being only a few of the many qualifications in her favor. Miss 

Hale is an Ohio girl, born in Elyria, 
and is a graduate of Wellesley. 
Largely in a spirit of fun, and im¬ 
mediately following upon her college 
days, she joined the chorus of Sav¬ 
age’s “ The Prince of Pilsen,” in 
Boston in 1902. Her experience was 
such that she determined to adopt 
the stage professionally, and six 
months after her debut she created 
the role of Lily Ann Lynch in 
“ Peggy from Paris.” It was in this 
part that she made her Broadway 
debut, at Wallack’s in the fall of 
1903, and from that moment the 
name of Helen Hale was an assured 
happy factor in Broadway theatri¬ 
cals for all time to come. The two 
seasons following this she was a 
gay and sprightly Jenny Wren in 
the bird opera, “ Woodland,” and 
her blithe, fetching personality had 
exceptional chance here. Miss Hale’s next opportunity came with Harry 
Bulger in “ The Man from Now ” and in the dual roles of Samsonia 
and Gasolina she carried off pretty much all the honors in this pro¬ 
duction. Upon the close of this piece she joined the forces of Ray¬ 
mond Hitchcock, and as Blanche Bailey in “A Yankee Tourist” she proved 
as alluring and fascinating a creature as one would care to see. There is 
something almost indescribably attractive about Miss Hale, her individuality 
being of the pronounced sort and she has brains as well as beauty, a factor 
largely apparent in everything she does behind the footlights. Moreover, 
she is a girl of great ambitions, and even now, with power and success in. 
her grasp, she is eager and anxious to improve and advance in her work 
and is constantly studying and seeking new lines of development towards, 
that end. And as a tribute to her histrionic powers, during her entire stage 
career, she has appeared under but one management, that of Henry W. 
Savage, which further proves that that astute manager knows more than, 
the usual thing or two. Miss Hale belongs to the new era in Stageland, 
where brains and talent walk hand in hand, and we may expect many 
brilliant things of her. 





October 1 3 


Isabel Richards 


ISABEL RICHARDS, one of the most promising of the younger set of 
A actresses under the Frohman banner, has done any amount of creditable 
work during the comparatively short time she has been before the public, 
and while.her opportunities have hardly been on a par with her talents she 
is still young enough, in both years and experience, to await her chance to 
prove her real dramatic worth. She is an exceptionally handsome woman 
in appearance, of a distinguished and imposing 
personality, the typical cultured, high-bred woman 
of the world, with all the poise, distinction and 
cultivation that one instinctively looks for in such 
a woman, and, naturally, she brings all these 
attributes to bear in her professional work. A 
Bostonian by birth, a member of an exclusive 
Back Bay family, Miss Richards enjoyed every 
social advantage as a young girl, but she was 
anxious to find a wider horizon for her talents 
than that of the drawing-room, and, naturally 
enough, with all her temperamental qualifications, 
she sought the stage door as an outlet. She made 
her debut on March 6, 1902, at the Alvin Theatre, 

Pittsburg, in the support of James K. Hackett, 
playing Eugenie Renault in “ The Crisis.” She 
remained with Mr. Hackett for over a year, also 
appearing under his management in “ The Bish¬ 
op’s Move,” supporting W. H. Thompson. Miss 
Richards then created the role of Mary Stuart 
in “ Dorothy Vernon of Haddon Hall,” with 
Bertha Galland, a portrayal which brought her 
into instant favor with Broadway theatregoers, 
one replete with rare poetic beauty and in which 
her temperamentally sympathetic qualities had 
most excellent chance. She was then seen in the support of Eleanor Robson, 
playing Lady Glynn in “ Merely Mary Ann ” and created the high-comedy 
role of Ruth Carney in Fitch’s “ The Girl Who Has Everything,” where 
her talents as a comedienne had probably their best chance. She then 
appeared with Fay Davis in “ The House of Mirth,” afterward being leading 
woman with Lillian Russell in “ The Butterfly.” The season of 1907-08, she 
was first with “Mary’s Lamb,” before it had a musical setting; was then 
in “Toddles,” at the Garrick; and finally played Isabelle Lagardes in “The 
Thief,” supporting Kyrle Bellew and Margaret Illington. Miss Richards is 
most ambitious for her future and is untiring in her efforts to broaden and 
develop even further in her artistic perspective and endeavors. 



& 






No clouds are in the morning sky, 

The vapors hug the stream; 

Who says that life and love can die 
In all this northern gleam? 

—Whittier’s “ Autumn Song. 






October 14 


Thomas W. Rawson 


U PON the last American tour of Sir Charles Wyndham and Mary Moore, 
the season of 1904-05, one of the most able actors in their support was 
Thomas W. Rawson, who was prominently placed in all three of the 
pieces in their repertoire, his complete list of roles being Mr. Brown in 
“David Garrick,” Jernigan the detective in “ Mrs. Gorringe’s Necklace ” and 
Mr. Jacomb in “ The Case of Rebellious Susan.” He proved to be an easy, 
capable, polished actor, and we would be glad to welcome him again into 
our midst any time. Mr. Rawson was born in Nottingham, Isle of John 
Bull, was educated at Trent College, and he originally intended to become 
a lace manufacturer, in which he would have followed in his paternal 
parent’s footsteps. But a strong penchant for amateur theatricals led 
him to believe he could make his mark at the real thing, so he started out 
as an actor in 1888, playing a minor bit in “ Mr. Barnes of New York,” 
on tour. He soon found that he had made a wise choice in the selection 
of a profession and also found a considerable demand for his talents. Three 
of Mr. Rawson’s biggest successes in England have been as Pete in “ The 
Manxman.” Svengali in “Trilby” and Sir Christopher Deering in “The 
Liars,” which last is his favorite part. He has an enviable reputation in 
the British provinces, where he has played many leading roles, and his 
following has attained quite enviable proportions in the provincial English 
towns. 


October 1 5 Charles Mackay 

/"CHARLES MACKAY has been most successful as an actor of leading 
juvenile roles, his services being constantly in demand for parts of this 
sort, and his professional record is one of dignity and importance. Mr. 
Mackay was born in Philadelphia, being a son of F. F. Mackay, the famous 
actor and instructor. He began his stage career in 1886 with Louis James 
and Marie Wainwright, playing a variety of small juvenile roles in their 
support. He then appeared in “ The Kaffir Diamond,” at the Broadway, and 
for some time after this was highly successful as Lieutenant Frank Bedloe 
in “ Shenandoah.” For several seasons thereafter Mr. Mackay supported 
Joseph Grismer and Phoebe Davies in “ The New South.” He was next 
leading man with Sol Smith Russell, then appeared with E. M. and Joseph 
Holland in “ A Superfluous Husband ” and was in the melodrama, “ New 
York,” at the American Theatre. On May 3, 1897, Mr. Mackay opened with 
the Castle Square Stock Company, Boston, and he remained with this com¬ 
pany for five consecutive seasons, playing all manner of juvenile roles. The 
season of 1902-03, he appeared under Charles Frohman’s management in 
Fitch’s “The Bird in the Cage,” was a member of Elitch’s Garden Stock, 
Denver, the next summer, then appeared under Klaw and Erlanger as 
Messala in “ Ben-Hur,” was next with the Baker Stock in Los Angeles 
and for a season was leading man with William Farnum’s Stock in Cleve¬ 
land and Buffalo. The season of 1905-06, Mr. Mackay was back with the 
Castle Square Stock, Boston. He began the next season as leading man in 
Liebler and Co.’s production of “ Cape Cod Folks,” and about the middle 
of the season he joined “ The Man of the Hour,” to play the part of 
Scott R. Gibbs, and he has continued in this role ever since. 


234 


October 1 6 


Dora de Fillippe 

IT seems a pity that Dora de Fillippe is seen so infrequently on the New 
1 York stage, for prima donnas of her calibre are none too plentiful nowa¬ 
days. A Frenchwoman by birth, born in Paris, of French and Austrian 
parentage, Miss de Fillippe was educated at the Sacre Cceur Convent, after¬ 
ward studying vocal culture. On embarking upon a stage career, she 
promptly won a leading place as a lyric soprano, singing in the opera houses 
of all the leading continental capitals, her repertoire embracing: “La Bo- 
heme,” “ Carmen,” “ Faust,” “ The Daughter of the Regiment,” “ La Dame 
Blanche,” “ Cavalleria Rusticana ” and “ FPagliacci,” in the realm of grand 
opera; and “ The Lady Slavey,” “ The French Maid,” “ La Poupee,” “ Lovely 
Galatea,” “ La Mascotte,” “ Olivette ” and “ Said Pasha,” in a lighter vein. 
It was in the winter of 1902 that Miss de Fillippe made her debut in this 
country, appearing at the Metropolitan Opera House with Pietro Mascagni, 
and she became so enamored with America that she has remained here ever 
since. In August, 1903, she was seen at the Broadway Theatre as prima 
donna in “ A Princess of Kensington,” after which she went to San Fran¬ 
cisco and joined the Tivoli Opera Company, opening March 21, 1904, and 
closed on May 21 of the next year, during which time she appeared in 
“ Mr. Pickwick,” “ The Beggar Student,” “ When Johnny Comes Marching 
Home,” “ A Runaway Girl,” “ The Toy Maker,” “ Sergeant Kitty,” “ Robin 
Hood,” “ The Toreador,” “ The Serenade,” “ Der Rastelbinder,” “ The 
Messenger Boy,” “ King Dodo,” “ Boccaccio,” “ The Burgomaster,” “ Floro- 
dora ” and “ The Mikado.” After this she appeared in vaudeville with 
Willard Simms, sang in summer opera at the Euclid Garden Theatre, Cleve¬ 
land, Ohio, and for the past two years has been one of the four prima 
donnas who alternated in the title role of “ Madame Butterfly,” under the 
direction of Henry W. Savage. 


October 1 7 


Isabel Jay 


A RATHER surprising thing it is that Isabel Jay has never appeared 
on the American stage, she having long been one of London’s crack 
prima donnas, and, too, nearly all the productions in which she has 
figured have sooner or later had a hearing upon our shores. But, come 
to think of it, maybe Miss Jay’s popularity is so great in her native country 
that the Britishers just won’t hear of her deserting ’em, even for a little 
while, though ’tis a safe gamble that she will yet cross the Atlantic in a 
professional capacity. Miss Jay is a Londoner by birth, and she studied 
for the stage at the Royal Academy of Music. She began her career in 
1897 as a member of the D’Oyly Carte Opera Company, singing such parts 
as Elsie Maynard in “ The Yeomen of the Guard ” and Phyllis in “ Iolanthe.” 
She appeared with this company in standard operas at the Savoy Theatre 
for a number of years, later turning her attention to the lighter field of 
musical comedy. In 1903, Miss Jay created the part of Marjorie Joy in “ The 
Country Girl,” at Daly’s, and appeared at the same theatre the year follow¬ 
ing as Lady Patricia Vane in “ The Cingalee.” She was seen at the 
Criterion Theatre in 1905 as Sybil Cunningham in “ The White Chrysanthe¬ 
mum,” and in April, 1906, she was at Wyndham’s, playing Winnie Wil- 
loughbly in “ The Girl Behind the Counter,” the following December being 
Olivia in “The Vicar of Wakefield” (musical version), supporting David 
Bispham, at the Prince of Wales’. Miss Jay has continued at this same 
theatre ever since, on January 31, 1907, creating the role of Sally Hook 
in “ Miss Hook of Holland,” and on April 21, 1908, she was Paulette in 
“ My Mimosa Maid.” As may easily be deduced from this list, Miss Jay is 
one of London’s greatest favorites, and, secure in that knowledge, she proba¬ 
bly doesn’t care to venture an appearance upon American soil. 

235 


October 19 


Hope Latham 

/COMPARATIVELY a new figure on the New York stage, Hope Latham 
^ gives promise of becoming a pronounced Broadway favorite ere many 
seasons roll round, for in the rather effete atmosphere of the Empire 
Theatre she quite capably holds her own with most experienced players. 
Her two roles on Broadway have not afforded her any great opportunities, 
but she has done very well with the chances at hand, and it is safe to 
wager that she will be quite ready to meet the day of bigger things. A 
Canadian girl by birth, Miss Latham received her education at the Convent 
of the Sacred Heart, Montreal. Upon her decision to follow a stage career, 
she became a member of a prominent Western stock company, later appear¬ 
ing with a similar organization in Springfield, Mass., and during this time 
she had every opportunity for the best sort of development, gaining any 
amount of sound, technical knowledge while in this rigorous, but most bene¬ 
ficial, school. Miss Latham then appeared on tour one season as the 
adventuress Claire Forster in Fitch’s “ The Woman in the Case.” It was 
the season of 1906-07 that Broadway first became acquainted with her, she 
appearing that season at the Empire with John Drew as Mile. Thome in 
“ His House in Order,” her knowledge of the French language standing her 
in good stead in this role, and she continued a second season in the Drew 
surroundings, during 1907-08, being the Baroness Granclos in “ My Wife.” 
Miss Latham appears to be well started upon a career that promises to 
develop along quite liberal lines. 


Oh, Autumn, laden with fruit, and stained 
With the blood of the grape, pass not, but sit 
Beneath my shady roof; there thou mayst rest 
And tune thy jolly voice to my fresh pipe, 

And all the daughters of the year shall dance. 

Sing now the lusty song of fruits and flowers. 

—William Blake’s “ To Autumn.” 

230 


October 20 


Alice Lloyd 

/^\NE of the most delightful events of the theatrical season of 1907-08 
was the return of Alice Lloyd to the American vaudeville stage. This 
fascinating English comedienne, with her dainty, graceful manner and 
bewitching personality, has secured a firm grip upon the affections of our 
theatregoing public and she bids fair to hold her place for many years to 
come. It was as a complete stranger that Miss Lloyd made her debut before 
an American audience, appearing at 
the Colonial Theatre on February 
25, 1907, and in less than a week’s 
time her name and reputation had 
gone forth upon all sides as one of 
the cleverest young artistes to be 
imported to this side. She not only 
made an instantaneous success, but 
continued to grow more and more 
in popularity, and when she re¬ 
turned to her native land, after less 
than six months in this country, she 
left behind her an enthusiastic lot 
of admirers who were eagerly an¬ 
ticipating her return. A member of 
the well-known Lloyd family, who 
have figured so conspicuously in 
English theatricals, she was a great 
favorite in the music halls of her 
native country, and it was with diffi¬ 
culty that she was released from 
long-existing contracts to invade 
foreign territory. Aside from the name she has won as a music hall 
artiste, Miss Lloyd also enjoys great favor as a participant in the various 
pantomimes that abound in England around holiday time. She has won 
practically an unique position for herself in her own country and now she 
bids fair to win even greater favor on American soil. Miss Lloyd re-appeared 
in this country on March 2, 1908, again at the Colonial Theatre, and found 
that her brief absence had only served to strengthen the affections in which 
our theatregoers hold her. Of a vivacious and petite personality, with an 
abundance of magnetism and dainty grace, she sings her songs in an arch 
and coy manner, particularly pleasing in one so attractive as she, and her 
songs have the happy knack of instantly winning public favor. A pleasant 
thing it is to chronicle Miss Lloyd’s sweeping personal success in this 
country, for she came here, a little over a year ago, absolutely an unknown 
quantity, and, solely upon the strength of her ability and winsome manner, 
she has achieved a place in public favor that is given only to a very few, 
in most cases, too, those who have spent years in entertaining the public. 
A clever girl is Alice Lloyd and a far-seeing public has merely taken cog¬ 
nizance of that fact with promptitude. In the fall of 1908, vaudeville will 
lose this dainty little lady for some time to come, for Messrs. Klaw and 
Erlanger and F. Ziegfeld are having a musical comedy written around her 
by Messrs. George M. Cohan and J. J. McNally, to be produced on Broad¬ 
way. She has the good wishes of all her admirers for a gigantic success 
when she stars in “ The Bonnie Belles of Scotland.” 



237 





October 21 Louis N. Parker 

T OUIS N. PARKER is a famed and skilled dramatist, with a long list 
1 of successes to his credit, and a rare thing it is to have a theatrical 
season, particularly a London season, pass without at least one of his 
plays having a hearing. Mr. Parker was born in Calvados, France, being 
christened Louis Napoleon, and was educated at Freiburg and the Royal 
Academy of Music. In his early youth he was greatly interested in musical 
matters, being appointed Director of Music at the Sherborne School, Dorset, 
a position he held nineteen years. Mr. Parker abandoned this post in 1891 
in order to devote himself exclusively to playwriting, and he has flourished 
as a dramatist ever since. The following are some of his plays best known 
to American theatregoers, several of which are foreign translations or have 
been written in collaboration with others: “ Gudgeons,” “ The Bugle Call ” 
and “The Twin Sister,” produced by the Empire Theatre Company; “The 
Mayflower,” for the Lyceum Theatre Company; “ Rosemary,” for John 
Drew; “’Change Alley,” for E. H. Sothern; “The Termagant,” for Olga 
Nethersole; “Love in Idleness” and “The House of Burnside,” for Edward 
Terry; “ The Cardinal,” for E. S. Willard; “ L’Aiglon,” for Maude Adams; 
“The Sacrament of Judas,” for Kyrle Bellew; “The Monkey’s Paw,” for 
Arnold Daly; “ The Beauty and the Barge,” for Nat C. Goodwin; and “ The 
Duel,” for Otis Skinner. Mr. Parker has stood sponsor for at least once 
again as many plays, many of which have had a London hearing, but those 
mentioned above are the ones with which we are most familiar. He is 
especially apt in making foreign translations, and his services are greatly 
in demand in this field, as a glance at the above list will tend to show. 


October 22 


Cecilia Loftus 


A WONDERFULLY talented artiste is Cecilia Loftus, and she occupies 
‘‘•■an independent and distinctive position upon both the legitimate and 
vaudeville stages. No need here for a detailed account of her art and 
delightful personality, they are both too well known for that. The daughter 
of Marie Loftus, of London music hall fame, she was born in Glasgow, Scot¬ 
land, was educated at the Convent of the Holy Child, at Blackpool, and even 
as a youngster was rarely gifted with mimetic powers. Immediately upon 
leaving school she determined to try her fortunes in the music halls, making 
her debut at Oxford on July 15, 1893, as a mimic. She first appeared in 
America at Koster and Bial’s on January 21, 1895. Returning to England, 
Miss Loftus made her debut as a dramatic actress, supporting Martin Harvey 
in “ The Children of the King,” and, after a brief whirl in the music halls, 
she has been more or less identified with the legitimate stage ever since, her 
principal engagements being as follows: 1900-01, with the Lyceum Theatre 
Company in “The Man of Forty” and “Lady Huntworth’s Experiment”; 
1901-02, with E. H. Sothern in “ Richard Lovelace ” and “ If I were King,” 
and in London with Sir Henry Irving in “ Faust ” and “ The Merchant 
of Venice ” ; 1902-03-04, with Sothern in “ If I were King,” “ Hamlet ” and 
“ The Proud Prince ”; 1904-05, starring tour in “ The Serio-Comic Gov¬ 
erness,” and in vaudeville; 1905-06, in London in “ Peter Pan ”; 1906-07, 
with Joseph Weber’s company in “Dream City”; and 1907-08, co-starring 
term with Lawrence D’Orsay in “ The Lancers,” and in vaudeville. A mar¬ 
velously clever and versatile girl is Cecilia Loftus! 


238 


October 23 Eric Lewis 

F^RIC LEWIS has occupied a leading position on the London stage for 
1 a number of years, there being few better known than he as an actor 
of character roles, and we can only hope that the day is not far distant 
when he will afford theatregoers in America a chance to judge of his 
capabilities. He has had a most excellent schooling, in both opera and 
drama, and for nearly thirty years has been one of London’s biggest 
favorites. Born in Brighton, England, Mr. Lewis began his stage career 
at the London Havmarket in the opera, “ Blue and Buff.” During the 
years that followed, up until 1890, he divided his time equally between 
the operatic and dramatic stages, a few of his biggest successes in the 
former being with the Alice Barth Opera Company, the D’Oyly Carte and 
Willie Edouin companies, in “ La Cigale,” and “ Dr. D,” while as a dramatic 
player he supported Helen Barry, Beerbohm Tree, Mrs. John Wood and Mr 
and Mrs. Kendal. For the last eighteen years, however, Mr. Lewis has 
confined himself exclusively to the dramatic stage, with the single exception 
of “ The French Maid,” in 1897, and he has known any number of big 
successes in character roles, a few of his most recent ones being in “ Mol- 
lentrave on Women,” supporting George Alexander; “On the Love Path,” 
with Ellis Jeffreys; “The Walls of Jericho,” with Arthur Bourchier; in 
Bernard Shaw’s “The Doctor’s Dilemma” and “The Philanderer”; and St. 
John Hankin’s “ The Return of the Prodigal,” at the Court; in “ The 
Eighteenth Century ” and “ The School for Scandal,” at the St. James’; in 
“ All-of-a-Sudden Peggy,” “The Barrier” and “Angela,” supporting Marie 
Tempest; and on March 2, 1908, he was seen at the Duke of York’s as the 
Earl of Loam in the revival of “ The Admirable Crichton.” With such a 
professional record to his credit, small wonder that Mr. Lewis is in such 
high esteem with London theatregoers. 



October 24 E. C. Hedmondt 

A LTHOUGH an American by birth, E. C. Hedmondt’s name has little 
significance for theatregoers in his native land, as practically all of his 
stage career has been passed in Europe, where he occupies quite a 
leading place as an operatic artist. A strange thing it is, too, that he has 
not figured more in stage affairs here, unless it be that the opportunities are 
greater in foreign climes. Mr. Hedmondt was born in Maine, and was edu¬ 
cated at Montreal and Jena. He gave up a commercial career in order to 
go to Leipzig to study music and singing, and upon the completion of his 
studies he sang leading tenor roles for several years at the Leipzig Opera 
House. Later he sang at the Royal Opera, Berlin, and in 1888 participated 
in the Bayreuth Festival. He then went to London, and became director of 
the English Opera at Covent Garden, later participating in several light opera 
productions: for instance, appearing in the leading role in “ The Scarlet 
Feather,” at the Shaftesbury, Thomas Q. Seabrooke being the principal 
comedian in this production, and later playing in the operatic version of 
“ Rip Van Winkle,” at Her Majesty’s. It was after this that Mr. Hedmondt 
made his debut in his native land, appearing with Henry W. Savage’s Eng¬ 
lish Opera Company, at the American Theatre, opening April 10, 1899, sing¬ 
ing Don Jose to the Carmen of Lizzie MacNichol. He returned to England 
shortly afterward, and has been singing principally with the Carl Rosa 
Opera Company, being one of the leading tenors with this famous organiza¬ 
tion. Maybe we shall have Mr. Hedmondt back in our midst at some 
future time. 


230 


October 25 Margaret Wycherly 

TV/IARGARET WYCHERLY, one of our most temperamental and sym- 
pathetic young actresses, has suffered from a perverse fate in not being 
able to grasp permanent stellar success, a position to which her talents 
certainly entitle her. She is a rarely gifted young actress, and a pity 
it is that a proper recognition is being so long denied her. although, at that, 
she has met with more than average success. Miss Wycherly was born 
in London, of American parentage, and was educated there and in Boston. 
She began her stage career in 1898 with Madame Janauschek in “ What 
Dreams May Come,” later supporting Paul Gilmore in “ The Dawn of 
Freedom.” She then appeared in the support of Richard Mansfield, playing 
minor bits in his repertoire, followed by a season on tour in “ Why Smith 
Left Home,” and a brief term with the Proctor Stock. The season of 
1901-02, Miss Wycherly was a member of the Alcazar Stock, San Francisco, 
and then retired from the stage for a year, owing to ill health. She took 
up her work again, the season of 1903-04, with the Ben Greet Players, 
alternating with Edith Wynne Mathison in “ Everyman ” and was Olivia in 
“ Twelfth Night.” Miss Wycherly starred the next year in the W. B. 
Yeats plays—“ The Land of Heart’s Desire,” “ The Hour Glass,” “ Kath- 
leen-Ni-Houlihan ” and “ The Countess Cathleen,”—and the season follow¬ 
ing was first on tour in “The Nazarene” and then supported James J. 
Corbett in “ Cashel Byron’s Profession.” For some time after this she 
appeared in vaudeville in a protean sketch, “ In Self Defense,” and in the 
spring of 1907 starred in “ The Primrose Path,” doing admirable work in 
this play. The season of 1907-08, Miss Wycherly first played the title 
role in “ Candida,” with Arnold Daly, and later appeared in stock in Boston 
and Providence, R. I. 




October 26 Edward Harngan 

YY/HAT a marvelous vogue Edward Harrigan enjoyed when in his prime! 

W As a star in Irish plays his popularity was second to none, and for 
twenty years he reigned at the head of his own particular style of 
entertainment. A native of New York City, he began his stage career in 
1867 as a variety performer at the Olympic Theatre, San Francisco. He 
early formed a partnership with Tony Hart, and, after several years in the 
variety business, they entered upon a long term of management in New 
York, continuing from 1876 until 1894, during which time they guided the 
destinies of four theatres—the old Comique, the new Comique, the Park and 
Harrigan’s Theatre. Among their greatest .successes, of all of which Mr. 
Harrigan was the author as well as playing the principal part, were: “Old 
Lavender,”. “ The Mulligan Guards’ Ball,” “Squatter Sovereignty,” “Cor¬ 
delia’s Aspirations,” “ The Leather Patch,” “ Waddy Googan,” “ Reilly and 
the Four Hundred,” “ The Last of the Hogans ” and “ The Woollen Stock¬ 
ing.” Since the passing of his golden stellar days in the middle nineties, 
Mr* Harrigan has been rather buffeted about by the theatrical winds, starring 
unsuccessfully in “ Marty Malone,” playing Uncle Tom in the Brady star 
revival of “ Uncle Tom’s Cabin,” in 1901; was in Fitch’s “ The Bird in the 
Cage,” in 1902; and also made another unsuccessful starring attempt in 
“ Under Cover.” He has appeared in vaudeville upon many occasions, and 
has toured the smaller towns in a revival of “ Old Lavender.” He has not 
appeared professionally for the last year or two. Mr. Harrigan certainly 
drank deep of the cup of success when in high favor, and it seems almost 
a pity that our theatregoing public has so completely outgrown his form 
of entertainment. 


240 


October 27 Viola Allen 

nr HE name of Viola Allen is one that needs no introduction to American 
*■ theatregoers, for its possessor has long held a representative position 
among our foremost feminine stars, a position that she has won solely 
by her loyalty and unflagging devotion to her profession. A thoroughly 
womanly woman, graceful and magnetic, she has ever maintained a high 
dignity of purpose, with the best possible standard of ideals, and it is 
scarcely necessary here to dwell 
upon the great success that she has 
known. She has played everything, 
from modern comedy to Shake¬ 
speare, and has done most admirable 
work in them all. Indeed, it may be 
asked in all truth whether the pub¬ 
lic really appreciates the wide range 
to Miss Allen’s talents, the com¬ 
prehensive scope that her repertoire 
of roles has embraced. For in¬ 
stance, among the old comedies she 
has played Lydia Languish in “ The 
Rivals,” Cicely Homespun in “ The 
Heir-at-Law,” Julia in “ The Hunch¬ 
back ” and Lady Teazle in “ The 
School for Scandal,” Joseph Jeffer¬ 
son proclaiming her Teazle to be the 
best he had ever seen. In the field 
of melodrama she has been seen in 
“ Hoodman Blind,” “ The - Bells of 
Haslemere,” “ Shenandoah ” and 
“ The Two Orphans,” while in the heavy romantic drama she has 
played Virginia in “ Virginius,” Parthenia in “ Ingomar ” and Mildred 
in “ A Blot on the ’Scutcheon.” It was during her long term as lead¬ 
ing lady of the Empire Theatre Company that Miss Allen had such excel¬ 
lent opportunities to prove her mettle, her emotional talents having full 
sway in such pieces as “ Sowing the Wind,” “ The Masqueraders,” “ The 
Benefit of the Doubt,” “ Under the Red Robe ” and “ The Conquerors,” 
while she shone resplendently as a comedienne in “Gudgeons,” “John-a- 
Dreams,” “ The Importance of Being Earnest ” and “ Bohemia.” Her fine 
emotional work in “ Aristocracy ” will also be long remembered. Miss Allen’s 
Shakespearean repertoire is one of exceptional proportions, she being an 
ardent devotee of the Bard of Avon; Desdemona, Cordelia, Juliet, Viola, 
Imogen, Rosalind, Portia, Hermione and Perdita being a few of the roles 
in which she has been seen. She made her debut as a star the season of 
1898-99, and everyone is conversant with the great triumphs that have been 
hers in “ The Christian,” “ In the Palace of the King,” “ The Eternal City,” 
“ Twelfth Night,” “ The Winter’s Tale,” “ The Toast of the Town,” “ Cyn- 
beline ” and her most recent success, “ Irene Wycherly,” a role that affords 
her ample scope for her best talents. Miss Allen, always the sincere artiste, 
has climbed to professional heights given to few, and from her present proud 
position, won upon her merits alone, she may look back upon an honored 
career, one worthy of the best stage traditions of to-day. 



241 




October 28 


Robert L. Downing 


/^\NE of the chosen elect of our romantic actors a few years ago, Robert 
L. Downing is no longer of the stellar heavens, having practically retired 
from the stage a couple of years ago. He was immensely popular in 
his day as an exponent of vigorous, robust, romantic roles, and he built up 
quite a following for himself from the Atlantic to the Pacific, starring at 
the head of his own company for many years. Mr. Downing was born in 
Washington, D. C., received his schooling there and has practically made 
his home in that city all his life. He began his stage career there, too, in 
11877, appearing with the stock at the National Theatre, making his debut 
in “ The Gascon,” supporting Charles R. Pope. He was at the National 
four years in all, playing all the leads at the time of his departure. Mr. 
Downing then joined Mary Anderson for leading business, remaining her 
support three years, appearing with her in “ Evadne,” “ Ingomar,” “ The 
Hunchback,” “ The Lady of Lyons,” “ Guy Mannering,” “ Pygmalion and 
Galatea,” “ Fazios” “ The Daughter of Roland,” “ Love,” “ Romeo and 
Juliet,” etc. He then appeared in the support of Joseph Jefferson, playing 
Captain Absolute in “ The Rivals ” and John Perrybingle in “ The Cricket 
on the Hearth,” an engagement which lasted two seasons. Mr. Downing 
made his debut as a star, the season of 1886-87, in “ The Gladiator,” and 
it was by his work as Spartacus in this piece that he won his greatest fame. 
During his first ten stellar years he enjoyed considerable favor in such 
parts as Virginius, Othello, Ingomar, Brutus and Samson, though “ The 
Gladiator” always enjoyed first place in his repertoire. It was about the 
middle nineties that saw Mr. Downing’s starring glories begin to pale, 
and though he made several brave attempts to keep up with the times by 
producing more modern plays, such as “ In Search of Happiness,” “ Putnam,” 
“ David Laroque,” “ The Commander ” and “ The Hon. John North,” even 
seeking refuge in the one-night stands, he found himself unable to cope with 
present conditions. Aside from occasional stock-starring engagements and 
in vaudeville, Mr. Downing has been seen very little in public within the 
last few years, at times conducting a dramatic school in Washington, D. C., 
with rather variable success. He will be long remembered for his work 
as Spartacus, and the fire and passion that he threw into this role were of a 
calibre that few of our present-day actors could equal. 




I saw old autumn in the misty morn 
Stand shadowless like silence, listening 
To silence, for no lonely bird would sing 
Into his hollow ear from woods forlorn 
Nor lowly hedge nor solitary thorn— 
Shaking his languid locks all dewy bright 
With tangled gossamer that fell by night, 
Perling his coronet of golden corn. 


—Hood’s “ Autumn.” 


242 


October 29 


Walter C. Kelly 

YY 7 ALTER C. KELLY, during the short space of four seasons, has come 
W to be a prime favorite in the vaudeville world and there is no other 
performer, doing a “ single ” act, more popular than he. Best of 
all, he has won his position solely upon the strength of his ability and pleas¬ 
ing personality, for he began his music hall career practically without the 
aid of any previous reputation whatsoever. Mr. Kelly is a Vermont boy by 
birth, but when a youngster of five 
his family moved to Virginia, and 
thus it happens that his rich, deli¬ 
cious accent comes most naturally, a 
fact readily believed after once hear¬ 
ing him speak. He appeared in sev¬ 
eral farce comedies and musical 
plays for a season or two, notably 
Klaw and Erlanger’s production of 
“ Huckleberry Finn ” and with Frank 
Daniels in “ The Office Boy,” first 
attracting particular notice the sea¬ 
son of 1903-04 by his work in vau¬ 
deville as principal support to Marie 
Dressier in ‘her skit, “ Sweet Kitty 
Swellairs.” One day during the sea¬ 
son Miss Dressier fell ill and could 
not appear and, in order to save the 
situation, Mr. Kelly volunteered to 
do a single turn by telling a few 
Southern dialect stories. His suc¬ 
cess was immediate and electric, his 
style of entertainment being absolutely original and unique of its kind, 
and from that moment the name of Walter C. Kelly became a house¬ 
hold word throughout the country, for he at once branched out as 
a lone performer and has been continually growing in public popularity 
ever since. The season of 1906-07, Mr. Kelly was the big stellar headline 
feature with the Orpheum Road Show, a distinction, however, that he enjoys 
upon each bill in which he appears. The summer of 1907, he made an inva¬ 
sion of London, and the result was an engagement of ten consecutive weeks 
at the London Palace, the English press and public hailing him as one of 
the cleverest and best importations ever sent from this side. His success 
spread upon all sides and he could have rertiained abroad indefinitely had 
not previous bookings called him home, his fame having spread even to the 
Royal Family, before whom he appeared at private entertainments upon sev¬ 
eral occasions. Away from the theatre, Mr. Kelly is heavily interested in 
the Kelly Construction Company, showing rare business acumen in an actor 
as successful as he. This clever young Virginian, with his magnetic, whole¬ 
some personality, has reached the top of the vaudeville ladder to stay and 
his will be a proportionately big reward with his future achievements. 



243 



October 30 


H. A. Vachell 


TJORACE ANNESLEY VACHELL is a new name among our present- 
1 day playwrights, but, judging from the reception given his maiden 
effort in London, he has landed in the dramatic arena to stay. It is 
probably only a question of time when his name will become as well known 
in our midst as it now is in the British capital. Though a novice at play¬ 
writing, he has long enjoyed quite a reputation as a novelist. Mr. Vachell 
is an Englishman by birth, being a son of Richard Tanfield and Georgiana 
(Annesley) Vachell, and was educated at Harrow and Sandhurst. He 
served for a while in the English army, later coming to America and living 
the life of a cowboy on a California ranch. After a few years at this, Mr. 
Vachell returned to England, and devoted himself to literature, beginning 
in 1894. He has stood sponsor for some dozen or more novels, one of the 
most recent and successful of which was “ Her Son.” Mr. Vachell conceived 
the idea of making this story into a play, which he proceeded to do, and 
as a piece of dramatic literature it has had rather an unique history. The 
play, “ Her Son,” was produced in London March 12, 1907, for a matinee 
at the Playhouse, with Winifred Emery, Edith Wynne Matthison, Cyril 
Maude and Alfred Bishop in the leads, but it met with a frosty reception, 
the critics, however, finding much of merit in it and suggesting several 
changes. Oddly enough, the author acted upon the suggestions of the 
reviewers, and the revised version was produced at the New Theatre, 
September 2d of that same year, where it had a run of several months, 
the cast including Miss Emery, Suzanne Sheldon, Kenneth Douglas and Cecil 
Burt. It has since toured the provinces successfully. So now Mr. Vachell 
is encouraged to turn his hand to further playwriting, and doubtless his 
wares will soon be displayed on the American stage. 



October 31 Julie Herne 

A LTHOUGH she has met with more than ordinary success as an actress, 
Julie Herne aspires for a leading place among our feminine dramatists, 
and, judging from the one play of hers that has received a public hear¬ 
ing, it is not a far cry to the day when she will meet with every recognition 
as a playwright. Born in Boston, Mass., the daughter of the famous James 
A. Herne and sister to the beautiful and talented Chrystal of the same ilk, 
she began her stage career in her father’s company, the season of 1897-98, 
alternating between the two roles of Helen Berry and Perley in “ Shore 
Acres.” For over five years Miss Herne was identified with her father’s 
plays, creating the part of Emma West in “ The Rev. Griffith Davenport,” 
in January, 1899, and also that of Martha Reese in “ Sag Harbor,” in Octo¬ 
ber of that same year. The season of 1902-03, Miss Herne first played Mary 
Ann in “ Huckleberry Finn ” and was then Alice Gray in “ John Henry,” 
supporting Dan Daly; and the season following she appeared on tour as 
Esther in “ Ben-Hur.” She began the season of 1904-05 in “ Home Folks,” 
after which she produced her own play, “ Richter’s Wife/ for a series of 
special matinees at the Manhattan Theatre, playing the title role herself, 
and displaying exceptional promise as a dramatist, so much so that one can 
but marvel that nothing from her pen has had a stage hearing since. The 
next year Miss Herne was first with Raymond Hitchcock in “ Easy Daw¬ 
son,” followed by a short stock season in Brooklyn and then she placed 
Lael in the original production of “ The Prince of India.” She continued 
in “ The Prince of India ” all the season of 1906-07, and during the past 
year presented a dramatic sketch in vaudeville. She is an earnest, ambitious 
young woman, with exceptional mental qualities, and her future will bear 
watching. 


244 



john McCullough. 


Born, November 15, 1832. 


Died, November 8, 1885. 
































































- 















































• 


















































































November I 


Mrs. Stuart Robson 


lWIRS. STUART ROBSON has been devoting her talents to the vaude- 
*■*■■■ ville stage these last few years, appearing in dramatic sketches in 

which her talents as a comedienne have full sway. She is an accom¬ 

plished actress of comedy roles, with a finely developed humorous spirit, 
and it is rather strange that her name is found so infrequently upon Broad¬ 
way play-bills. Mrs. Robson was born in Hamilton, Ontario, Canada, be¬ 
ing a daughter of W. H. Dougherty, a New York journalist. When she 

adopted the stage as a profession she was billed as May Waldron, and in 

1885 was a member of Augustin Daly’s company. She made her first 
impression in the stage world on September 26, 1887, when she created the 
role of Lady Mary Trelawney in “ The Henrietta,” at the Union Square 
Theatre, in the support of Stuart Robson and William H. Crane. She 
remained with this twain until their separation, two years later, and then 
continued as Mr. Robson’s leading woman. She became his wife in 1891, 
and was known thereafter by her husband’s name. She won several nota¬ 
ble successes in his support, the Widow Opdyke in “ The Henrietta,” Mrs. 
Kent in “ Is Marriage a Failure,” Kate Hardcastle in “ She Stoops to 
Conqueror ” and Madame Polacca di Lowinski in “ Mrs. Ponderbury’s 
Past.” Mrs. Robson continued to appear in her husband’s support, with 
varied intervals, until 1899, when she retired from the stage. They last 
appeared together during the season of 1898-99, she playing Mrs. Porter 
in “ The Meddler.” After the death of her husband, in the spring of 1903, 
Mrs. Robson took up her stage work again, and, as above, has been appear¬ 
ing principally in the vaudeville theatres. 


November 2 Alexandra Phillips 


D URING the three years that Alexandra Phillips has been identified with 
Eastern theatricals she has made marked progression in her work, at 


the outset proving herself to be a capable, earnest young player, de¬ 
serving of every advancement. She is an actress of considerable charm of 
manner, natural and unaffected, with a personality that is at once pleasing 
and convincing, and as she is thoroughly sincere in her efforts to achieve 
a leading place in her profession, there is little doubt that such a place will 
be hers with the advent of more years and practical experience. Miss 
Phillips is a Southern girl by birth, and, before braving theatricals in the 
effete East, she served a long and faithful apprenticeship with prominent 
stock organizations in New Orleans, Milwaukee and Chicago, and even 
ventured a hearing on English soil, appearing on the other side under 
such managers as Ben Greet and W. Claire MacGrady. It was the season 
of 1905-06 that saw Miss Phillips’ debut in New York, appearing at the 
Lew Fields (now Hackett) Theatre with Louis Mann and Clara Lipman, 
playing Mrs. Lester in “Julie Bonbon.” She began the season following 
in the support of Joseph and William Winter Jefferson, creating the leading 
role of Eleanor Curtis in “ Playing the Game,” afterward playing the role 
of Marjorie Goodly in “ What Happened to Jones,” in the smaller Eastern 
cities. The season of 1907-08. Miss Phillips was seen as Dora Callow in 
“The Bondman,” supporting Wilton Lackaye. She is the type of actress 
who always makes the most of her opportunities, be they great or small, 
and it is to this faculty that much of her success is due. 


247 


November 3 


Lewis Waller 


/CONSIDERING the prominent position that Lewis Waller has long held 
as a London actor, it is rather a strange fact that he has never ventured 
an appearance upon the American stage. Several times has he threat¬ 
ened to invade our shores, but for some reason or other the threat has never 
become an actual fact. Born in Bilbao, Spain, and educated in England 
and Germany, Mr. Waller made his stage debut in 1883 with John L. 
Toole in “ Uncle Dick’s Darling.” During his first six years as an actor he 
appeared with Modjeska in “ As You Like It,” Henry Neville in “ The 
Ticket-of-Leave Man,” Kate Vaughan in “ Masks and Faces ” and Mrs. 
Potter in repertoire. He then appeared in London in the support of such 
big favorites as John Hare, Mr. and Mrs. Kendal, Julia Neilson, Wilson 
Barrett, Mrs. Langtry and Beerbohm Tree. Mr. Waller became a London 
star in 1894. and was seen in “ A Woman of No Importance,” “ An Ideal 
Husband,” “ The Home Secretary,” “ The Manxman,” “ A Woman’s Rea¬ 
son,” “ The Three Musketeers ” and “ A Marriage of Convenience.” He 
then appeared with Beerbohm Tree in “ Julius Caesar ” and “ King John.” 
Since 1899 Mr. Waller has starred in England in the following plays: 
“ Henry V.,” “ Monsieur Beaucaire,” which he has played over five hundred 
times; “ A Queen’s Romance,” “ Miss Elizabeth’s Prisoner,” “ Hawthorne, 
U. S. A.,” “ His Majesty’s Servant,” “ Romeo and Juliet,” “ The Perfect 
Lover,” “ The Harlequin King.” “ Brigadier Gerard,” “ Othello,” “ Robin 
Hood,” “ Clancarty ” and “ A White Man.” As can be seen from this list, 
Mr. Waller is in the very front ranks of England’s actor-managers, and 
his appearance in our midst would be an event of considerable importance. 



November 4 Edward Abeles 

A SPLENDID thing it is that Edward Abeles, after long years of trav¬ 
eling the thorny path, has at last come into 'permanent stellar fame. 
He is an excellent actor, one of the very best we have, in fact, and he 
deserves every possible success. Mr. Abeles was born in St. Louis, Mo., 
and originally intended to become a lawyer. An attack of stage fever, 
however, turned his thoughts in another direction, and he made his debut 
as an actor in 1891 with the A. M. Palmer Stock Company, remaining three 
years with this organization, during which time he was seen in “ Alabama,” 
“Jim the Penman,” “A Broken Seal,” “Col. Carter of Cartersville ” and 
“ Lady Windermere’s Fan.” In 1894. and for two years, Mr. Abeles played 
Charley in “ Charley’s Aunt,” after which he appeared in the original pro¬ 
duction of “ My Friend from India.” The three years following this he 
devoted himself to musical comedy, and was seen at the Casino in “ The 
Telephone Girl” and “In Gay Paree,” and with Anna Held in “Papa’s 
Wife.” Since then Mr. Abeles’ engagements have been as follows: season 
igco-oi, in “ Mam’selle ’Awkins,” “The Sprightly Romance of Marsac ” and 
with Blanche Bates in “Under Two Flags”; 1901-02, with “Under Two 
Flags,” in London in “ Hidenseek,” with Amelia Bingham in “ Lady Margaret,” 
William Collier in “ The Diplomat” and in the Bellew-Mannering revival of 
“ The Lady of Lyons”; 1902-03,. with Alice Fischer in “Mrs. Jack,” and in 
“ Are You a Mason? ” ; 1903-04, in “ My Wife’s Husbands,” with Vesta Tilley 
in “ Algy,” with Fay Davis in “ Whitewashing Julia,” in “ Glad of It ” and 
with William Collier in “The Dictator”; 1904-05, with Della Fox in “The 
West Point Cadet,” Fay Davis in “ The Rich Mrs. Repton,” Francis Wilson 
in “ Cousin Billy ” and in London with Collier in “ The Dictator.” The 
season of 1905-06, Mr. Abeles played Henry Straker in “ Man and Super¬ 
man,” supporting Robert Loraine, and for the past two years he has starred 
most successfully in “ Brewster’s Millions.” 


24 S 


November 6 


Daniel Sully 


A S an interpreter of Irish character parts, Daniel Sully occupies an unique 
** and conspicuously successful position in American theatricals. He 
stands absolutely alone among our stellar lights in his particular 
line, and while his greatest following lies in rural communities, it is of a 
reliable, stable sort that stands by him season after season. Mr. Sully was 
born in Newport, R. I., his parents being Patrick C. and Catherine (Mc¬ 
Carthy) Sullivan, and he was educated at the public schools in his native 
town. He began his public career in 1875 as a member of Lentz’s circus, 
a short time afterward becoming a performer in the variety theatres, in 
which field he flourished for seven years. In 1884, Mr. Sully produced a 
piece entitled “ The Corner Grocery,” of which he was the author, the piece 
proving a perfect gold mine. He continued to act in it for years, revising 
it from time to time, and it gave him a splendid start as a star in Irish 
character roles. Since the days of “ The Corner Grocery,” Mr. Sully 
has produced many pieces, meeting with public favor in practically all 
of them, the complete list of his plays being: “O’Brien the Contractor,” 
“ The Millionaire,” “ Daddy Nolan,” “ A Capital Prize,” “ Con Conroy, the 
Tailor,” “ Uncle Bob,” “ The Parish Priest,” “ The Old Mill Stream,” 
“The Matchmaker,” “The Chief Justice,” “ Our Pastor” and “ The Golden 
Rule.” Mr. Sully has a genial, hearty and wholesome style of acting that 
is particularly ingratiating, and it is rather a noteworthy fact that no 
successful competitor has ever invaded his realm. 






November 7 


IT'EW players ever tasted of the cup of success to a greater extent than 
*■ Lotta. As an actress of soubrette parts she was a wonder in her 
time, and both artistically and pecuniarily she cut a wide swath in stage 
circles. Born in New York City, her real name being Charlotte Mignon 
Crabtree, her parents took her to California when a mere infant, and it was 
there she began her stage career, making her debut in 1858, being a child 
of eleven at the time, as Petaluma in “ The Loan of a Lover.” Meeting with 
great success in California, she came East in 1865, and on June 1st opened at 
Niblo’s Saloon in a singing and dancing specialty, the result being dire 
failure. However, she braved a second attempt two years later, appearing 
at Wallack’s Theatre July 29, 1867, in “ The Pet of the Petticoats ” and 
“ Family Jars,” followed by “ Little Nell and the Marchioness,” hers being 
a tremendous triumph in this instance. From this time forth Lotta’s success 
spread like wildfire, and until her retirement, in 1890, she was an enormous 
public favorite, winning fame in such soubrette plays as “ The Firefly,” 
“ Bob,” “ The Little Detective,” “ Zip,” “ La Cigale,” “ Musette ” and “ Mile. 
Nitouche.” She made her debut on the London stage on December 22, 1883, 
at the Opera Comique and remained there several years in “ Musette,” 
“Little Nell and the Marchioness” and “Mile. Nitouche,” repeating her 
home triumphs. Having been a provident as well as prosperous player, Lotta 
was well able to retire to private life with the assurance of financial com¬ 
fort all her days, and though occasionally the story finds its way into print 
that she will resume her stage career, it is highly improbable that she will 
ever appear behind the footlights again. 


249 


November 8 


Maude Millett 


A LTHOUGH Maude Millett has not been especially conspicuous in Lon¬ 
don theatricals in recent years, she still holds a leading place in the 
affections of British theatregoers, many of whom delight to^ recall 
her work • twenty years ago in the role of Minnie Gilfillian in Sweet 
Lavender,” supporting Edward Terry. She made a tremendous impression 
in this role, and Londoners have never forgotten her. Rather an odd feature 
about her career is that, while her appearances have been few and far 
between, she has always managed to score an unqualified success in each 
of her various roles. Miss Millett began her stage career in 1884, one of 
her earliest successes being as Eva Webster in “The Private Secretary, 
which she soon followed up with an appearance in Charles Wyndham’s com¬ 
pany in “ The Two Roses.” After this, in 1888, came her “ Sweet Lavender” 
triumph, and then she became leading woman with E. S. Willard, playing 
Mary Blenkarn in “ The Middleman.” Her next success was in the support 
of George Alexander in “ The Idler.” A few years after this Miss Millett 
married and retired from the stage, resuming her career in 1899, again ap¬ 
pearing with Mr. Terry in “ Sweet Lavender.” She then re-joined the 
Wyndham forces, and enjoyed great favor in the role of the young secre¬ 
tary, Hyacinth Woodward, in “ The Tyranny of Tears,” which same part, 
by the way, was the means of making Ida Conquest leading woman with 
John Drew in this country. Miss Millett again sought private life after 
this, taking up her work once more in the fall of 1907, being received with 
open arms by her loyal public as Lucy Middleton in “ The Education of 
Elizabeth,” at the Apollo Theatre. Considering the wide intervals between 
her appearances, Miss Millett can scarcely complain of the fickleness of the 
London theatregoing public. 



November 9 



A DESERVEDLY popular comedian is Jess Dandy, and his many years 
•‘••of entertaining the public have certainly been fruitful of most excellent 
results. He has always employed a most individual style of fun-making, 
richly humorous and highly diverting, and small wonder that he has long 
been numbered among our most prominent and best liked operatic favorites. 
Mr. Dandy was born in Rochester, N. Y., but since early childhood has 
made his home at Tremont, Borough of the Bronx, New York. In early 
life he was engaged in mercantile pursuits and in politics, at the same time 
being actively engaged in amateur theatricals. Finally he decided to adopt 
the stage as a profession, making his debut as a vaudeville entertainer on 
July 10, 1898. Mr. Dandy’s offering consisted of a monologue and song 
parodies, using a pronounced, though inoffensive, Jewish make-up, and he 
made a big success at the very start. He readily obtained good bookings, 
his act being one that enjoyed favor upon all sides, and for five years 
he flourished as a vaudeville headliner. Upon only one brief occasion did he 
make a secession from vaudeville during all this time, and that was late 
in the winter of 1899 when he appeared at Koster and Bial’s in a musical 
burlesque entitled, “ Around New York in Eighty Minutes.” It was the 
season of 1903-04, however, that saw his permanent secession from his first 
love, being engaged by Henry W. Savage to plays Hans Wagner in “ The 
Prince of Pilsen,” in which part he was seen for four consecutive seasons, 
finally being “ featured ” in this piece. A rather serious throat trouble 
prevented Mr. Dandy from appearing on the stage during the season of 
1907-08, but he has now happily recovered, and by the time these lines are 
read he will have again resumed his profession of fun-making. 


November 1 0 Florence Reed 

TV TITH a personality of ineffable charm, youthful and engaging, of rare 
* * mental poise and power at the same time, Florence Reed has devoted 
practically all of her short career to study and hard work, and a 
splendid thing it is that she is now enjoying the fruit of her earlier labors. 
She was born in Philadelphia, being a daughter of the late well-known 
comedian, Roland Reed. Immediately upon the conclusion of her school 
days, she made her stage debut on January 28, 

1901, at Proctor’s Fifth Avenue Theatre, doing a 
monologue written specially for her by George 
M. Cohan. She met with considerable success 
in the vaudeville field, but gave it up after a few 
months to become a member of the Proctor Stock 
Company, her first part being Miss Fauntleroy in 
“ Dr. Bill.” The season of 1901-02, she was 
leading woman with May Irwin in “ The Widow 
Jones ” and “ Madge Smith, Attorney.” Miss 
Reed then re-joined the Proctor Stock, and for 
two years was one of the most popular members 
of this organization, playing a wide variety of 
leading roles. She then spent one season each 
with the Imperial Theatre Stock, Providence, R. 

I., and the Malcoln Williams Stock, Worcester, 

Mass., dividing the season of 1906-07 between the 
Hunt Stock, Chicago, and a return to Worcester 
with Mr. Williams’ company. During this time 
she gained a wonderful repertoire of leading 
roles, all the more remarkable owing to her ex¬ 
treme youth, a few of her most successful parts 
being: Zaza, Glory Quayle, Mrs. Dane, Lady 
Algy, Dorothy Vernon, Carmen, Janice Meredith 
and Madame Sans Gene; while in the old come¬ 
dies she has played Lady Teazle, Kate Hardcasile and Lydia Languish. 
While in Worcester, Miss Reed created the leading roles in eight new plays 
being tried out for the Shuberts, among these being: Eve in the Hartley 
Manners play, “ The Wooing of Eve ”; Marion Devereaux in “ The House 
of a Thousand Candles,” the Girl in “ The Girl in Waiting,” Hilda in “ An 
American Geisha ” and Anne in “ Anne and the Archduke.” The season of 
1907-08, Miss Reed became a tremendous popular favorite by her finished 
work as leading woman with E. H. Sothern, and great, indeed, were her 
triumphs as Ophelia in “ Hamlet,” Katherine de Vaucelles in “ If I Were 
King ” and Lucinda de la Liana in “ Don Quixote.” She is a rarely tem¬ 
peramental player, especially finished and responsive in emotional roles of 
subtle delicacy, and there are few actresses of. the present time whose futures 
promise more. 



On my cornice linger the ripe black grapes ungathered; 
Children fill the groves with the echo of their glee, 

Gathering tawny chestnuts and shouting when beside them 
Drops the heavy fruit off the tall black walnut tree. 

—Bryant’s “ November.” 


251 




November 1 0 Irma La Pierre 

I RMA LA PIERRE, a young player of most delightful methods, engaging 
and sweetly wholesome as to personality and with a wealth of tempera¬ 
mental power, has won an eminently conspicuous place for herself in the 
stage world, ranking with the best of our leading women, and hers should 
be a future that shall bring forth glories even greater than those already 
achieved. Each successive season' finds her further along the high-road 

to fame and success, and her professional reward 
is sure to be a generous one. A native of 
Chicago, Ill., the daughter of French parentage, 
Miss La Pierre made her stage debut, having 
studied under Professor Ziegfeld, in 1897 as a 
member of Augustin Daly’s company, being barely 
in her ’teens at the time. She remained with the 
Daly company two years, including an engage¬ 
ment in London, playing Pert in “ London, Assur¬ 
ance,” Maria in “ The School for Scandal,” Nami 
in “The Geisha,” Tiema in “Lili-Tse” and 
Marie in “ The Circus Girl.” Miss La Pierre was 
then specially engaged by William A. Brady to 
play Anna Moore in “’Way Down East,” and 
was highly successful in this role for two years, 
playing it with rare feeling and tender apprecia¬ 
tion. Following this engagement she scored a 
conspicuous success in New York as leading lady 
with J. H. Stoddard, her Flora Campbell in •“ The 
Bonnie Briar Bush ” being a highly effective por¬ 
trayal, full of moving emotional power. She next 
took a brief dip into melodrama as the young wife 
in “ Wedded and Parted,” and was then seen 
at the Garrick Theatre with Maclyn Arbuckle as 
Angela Skipper in “ Skipper and Co., Wall 
Street.” Miss La Pierre then returned to Mr. Stoddart’s support for an¬ 
other season, was also back in “’Way Down East ” for a time and created 
the heroine in “ The Plainsman,” supporting Orrin Johnson. The season 
of 1907-08, she played the title role of Jane Witherspoon in “ The College 
Widow,” making a particularly alluring and attractive picture in this role, 
and her most recent work was at the Garden Theatre as leading support 
to Will M. Cresey and Blanche Dayne, playing Kate Gordon in “ The 
Village Lawyer,” another addition to her list of personal successes. It is 
greatly to Miss La Pierre’s credit that she has mounted to her position 
upon the histrionic ladder solely through her own efforts, by her sincere 
devotion to her work, her earnestness and faithful application, and she is 
wholly deserving of all the adulation heaped upon her by an enthusiastic 
press and admiring public. 



<<^> 

When shrieked 

The bleak November winds, and smote the woods, 

And the brown fields were herbless, and the shades 
That met above the merry rivulet 
Were spoiled, I sought, I loved them still; they seemed 
Like old companions in adversity. 

—Bryant’s “ A Winter Piece.” 


252 



November 1 1 


Maude Adams 


j\/IAUDE ADAMS is, beyond question, the most popular feminine star 
now before the public, and she appears to be in a fair way to carry this 
title for some time to come. She has a whimsical, fragile personality, 
wholly feminine, and is an especial favorite with those of her own sex. Miss 
Adams was born in Salt Lake City, her mother being Annie A. Adams, a 
direct descendant of the famous Adams family of Quincy, Mass., and her 
father was a Mr. Kiskaden, of Utah. As a child she played several parts 
in her native city and San Francisco, but was soon placed in the Presby¬ 
terian School for Girls, in Salt Lake City, where she remained until she was 
sixteen. She came East in the fall of 1888, and was engaged by Duncan B. 
Harrison to play Moyna Sullivan in “ The Paymaster.” A few months 
later she joined E. H. Sothern and appeared as Louisa in “ The Highest 
Bidder” and Jessie Deane in “ Lord Chumley,” and on March 5, 1889, 
she appeared at the Bijou Theatre as Dot Bradbury in “A Midnight Bell,” 
an engagement which continued all of the following season. Miss Adams 
then appeared under Charles Frohman’s direction, a combination which 
has never ceased, and for the first two years she was seen as Evangeline 
Bender in “ All the Comforts of Home,” Dora Prescott in “ Men and 
Women ” and Nell in “ The Lost Paradise.” She then became leading 
lady with John Drew, and her roles were: 1892, Suzanne in “ The Masked 
Ball ”; 1893, Miriam Stuart-Dodge in “ The Butterflies ”; 1894, Jessie 
Keber in the “ The Bauble Shop ”; 1895, Marion in “ The Imprudent Young 
Couple,” Dora Hedway in “ Christopher, Jr.” and Adeline Dennant in “ The 
Squire of Dames”; 1896, Dorothy Cruickshank in “Rosemary.” Miss 
Adams then began her starring career, opening as Lady Babbie in “ The 
Little Minister,” at the Lafayette Square Opera House, Washington, D. C., 
September 13, 1897, this play lasting her three seasons. In the spring of 
1900 she played Juliet, and the season of 1900-01 she was the Duke of 
Reichstadt in “ L’Aiglon.” Then came a season as Phoebe Throssell in 
“ Quality Street,” after which she was off the stage for a year. Upon her 
return she played Pepita in “ The Pretty Sister of Jose,” followed by a sea¬ 
son’s revival of “ The Little Minister ” and as Amanda Afflick in “ ’Op o’ 
Me Thumb,” a one-act play. For the past two years she has played the title 
role in “ Peter Pan.” In January, 1908, she played Rene in “ The Jesters ”; 
and also made a brief tour as Viola in “ Twelfth Night.” An actress of 
simplicity and most appealing power, Miss Adams is a worthy representative 
of the actor’s art that is greatly aided by a wonderful personal charm. 




November woods are bare and still; 
November days are clear and bright; 

Each noon burns up the morning’s chill, 
The morning’s snow is gone by night; 

Each day my steps grow slow, grow light, 
As through the woods I reverent creep 
Watching all things “ lie down to sleep.” 


—Helen Hunt Jackson. 


253 


November 1 2 George Primrose 

T HE name of George Primrose has been associated with all that is best 
in minstrelsy for so many years that any reference to his success nowa¬ 
days seems almost a superfluity. But this wonderfully talented man 
has devoted practically his entire life to this form of entertainment, and.it 
is a fact of more than ordinary interest that he has kept abreast ot tne 
times to a degree only worthy of so ambitious and tireless a player as he. 

Mr. Primrose knew success at the very begin¬ 
ning of his career as a minstrel entertainer, being 
identified with only the best and most exclusive 
companies during his early days. He soon formed 
a combination with George Thatcher and William 
H. West, and the organization, known as 
Thatcher, Primrose and West’s. Minstrels, were 
practically pioneers of their time, introducing 
many new and original effects into their offering, 
and enjoyed great favor for many years, their 
annual engagements at Niblo’s Garden being one 
of the big theatrical events of the year. Mr. 
Primrose and Mr. West then formed a dual com¬ 
bination, and for nine consecutive years Primrose 
and West’s Minstrels floated upon the top wave 
of public approval, playing all over the country 
to ever increasing eclat and financial returns. The 
season of 1898-99, Mr. Primrose formed an alli¬ 
ance with Lew Dockstader, and for five years 
they were our representative minstrel kings. He 
then appeared in vaudeville one season, that of 
1903-04, being assisted by the Foley Brothers, and 
was received with open arms as a headliner at¬ 
traction, his name proving a strong magnet in the 
continuous houses. Since that time Mr. Prim¬ 
rose has toured regularly each season at the head of his own independent 
organization, all of his former glories being repeated an hundred fold. 
He is a loyal devotee to the minstrel’s art, being as studious and ambitious 
as a veritable beginner, and even his enormous pecuniary reward, being 
rated as one of the half-dozen richest men on the stage, cannot tempt him 
to feel more than the self-appreciation of work well done. Mr. Primrose 
is the owner of an exceptionally attractive home at Mt. Vernon, N. Y., 
built along Colonial lines, which he has named “ Primrose Hall.” He has 
also had the distinction of having a street and park named after him, a 
rare thing to happen during one’s lifetime, and Mt. Vernon is justly proud 
of its Primrose Street and Primrose Park. Exceptional public favors 
these, but certainly worthy of a man of the caliber of George Primrose. 



Wrapped in his sad-colored cloak, the Day, like a Puritan, standeth 
Stern in the joyless fields, rebuking the lingering color— 

Dying hectic of leaves and the chilly blue of the asters— 

Hearing, perchance, the croak of a crow on the desolate tree-top. 

—Bayard Taylor. 


254 



November 1 3 


John Drew 



J OHN DREW enjoyed the distinction of being the first star to fly the 
Charles Frohman banner, and during the fifteen years of his stellar career 
he has held his own against all comers, being accorded a premier place 
at the start, and it looks as though no one is likely to usurp his place for 
many years to come. In recent seasons he has rather drifted into pretty 
much the same style of plays, the modern London drawing-room type, but 
as they are admirably suited to him 
and his loyal crowd of followers put 
up no protest, he will probably flour¬ 
ish in this field indefinitely. Mr. 

Drew was born in Philadelphia, in 
which city his parents, Mr. and Mrs. 

John Drew, were most favorably 
known as managers of the Arch 
Street Theatre, where a stock com¬ 
pany was in existence many years. 

Upon the death of her husband, in 
1862, Mrs. Drew assumed control of 
the theatre, and it was in his mother’s 
company that thb younger John Drew 
made his stage debut, after a school¬ 
ing gained at the Philadelphia Protestant Episcopal Academy, on March 
23, 1873, as Plumper in “ Cool as a Cucumber.” He continued in his 
mother’s company until 1875, and on February 17, of that year, he became 
a member of Augustin Daly’s company, with which organization he con¬ 
tinued until the spring of 1892, save for the single season of 1878-79, when 
he played Henry Beauclerc in “ Diplomacy,” in which Frederick Warde 
and Maurice Barrymore were starring. During his long reign as leading 
man at Daly’s, he gained an invaluable repertoire, a few of the plays in 
which he figured being: “Needles and Pins,” “ Seven-Twenty-eight,” “Love 
on Crutches,” “ The Magistrate,” “ Nancy and Co.,” “ Love in Harness,” 
“ The Railroad of Love,” “ The Great Unknown,” “ The Last Word ” and 
“ The Lottery of Love,” among the modern pieces; while among the old 
comedies he was to be found in “ She Would and She Would Not,” “ The 
Country Girl,” “ The Recruiting Officer,” “ The Inconstant ” and “ The 
School for Scandal ”; and in the following Shakespearean plays, “ The 
Merry Wives of Windsor,” “ The Taming of the Shrew,” “ A Midsummer 
Night’s Dream,” “As You Like It” and “Love’s Labor’s Lost.” Mr. Drew 
made his debut as a star in 1892, since when he has presented the following 
plays: 1892-93, “The Masked Ball”; 1893-94, “The Butterflies”; 1894-95, 
“The Bauble Shop”; 1895-96, “That Imprudent Young Couple,” “Chris¬ 
topher, Jr.,” and “The Squire of Dames”; 1896-97, “Rosemary”; 1897-98, 
“A Marriage of Convenience” and “One Summer’s Day”; 1898-99, “The 
Liars”; 1899-00, “The Tyranny of Tears”; 1900-01, “Richard Carvel”; 
1901-02, “ The Second in Command ”; 1902-03, “ The Mummy and the 
Humming Bird”; 1903-04, “Captain Dieppe”; 1904-05, “The Duke of 
Killicrankie ” ; 1905-06, “ De Lancey ” ; 1906-07, “ His House in Order ” ; 
and 1907-08, “ My Wife.” During his stellar career, Mr. Drew has had 
the following actresses for his leading support: Maude Adams, five seasons; 
Isabel Irving, three; Ida Conquest, two; Margaret' Dale, four; and Mar¬ 
garet Ulington and Billie Burke, one each. 


255 


November 1 4 


Oliver Doud Byron 


I T is a good thing to see Oliver Doud Byron back in active stage harness 
-*■ again, and, despite the fact that he is now numbered among our oldest 
actors, especially in point of experience, he appears to have taken a new 
lease upon professional activities. It was in Baltimore, Md., that Mr. Byron 
first saw the light of day, and he began his stage career in that same city, 
as a boy of sixteen, playing Franco in “ Guy Mannering,” in the support 
of Charlotte Cushman. He soon became identified with the resident stock 
organizations of that time, playing long terms in Richmond (Va.), Louisville, 
Mobile, Pittsburg, Cincinnati and New Orleans, also appearing on tour with 
Lucille Western and John E. Owens. During his New Orleans engage¬ 
ment Mr. Byron married Kate Crehan, the exact date being November 23, 
1870. Shortly afterward Mr. and Mrs. Byron went out at the head of their 
own company, and for over twenty years appeared throughout the country in 
a series of melodramas, the most successful of which were: “ Across the 
Continent,” ‘‘The Inside Track,” “The Plunger” and “The Ups and 
Downs of Life.” About the middle nineties they appeared in vaudeville 
for a brief time, and then sought the seclusion of private life. The season 
of 1904-05, Mr. Byron found the call too irresistible, and emerged from pri¬ 
vacy to support his sister-in-law, Ada Rehan, in “ The Taming of the 
Shrew ” and “ The School for Scandal.” The season following he played 
Colonel George Annesley in “ The Man on the Box,” and for the past two 
years he has been playing John Burkett Ryder in “ The Lion and the 
Mouse ” on tour. Mr. Byron is an excellent example of the fascination 
that the stage holds for its devotees, even though ease and comfort could 
be their portion away from the footlights, but instead of which they prefer 
even one-night stand traveling. 





Bertha Galland 


November 1 5 


TTERE’S the hope sincere that Bertha Galland will yet find a worthy role 
^ in an equally worthy play that will bring to her the success that her 
talents truly deserve. That king pin of all the will-o’-the-wisps, a good 
play, has been denied her practically all of her stage career, and a pity it 
is, too, for few of our actresses can boast of greater talents than hers. 
Some day—but there, let us wait and see! Miss Galland was born near 
Wilkes-Barre, Pa., was educated privately in New York and had scarcely 
completed her school days when she embarked upon a stage career. All 
of her days behind the footlights have been passed either in the capacity 
of star or leading woman, starting out in 1898 at the head of her own com¬ 
pany, playing Lady Macbeth, with Joseph Haworth as her leading man. 
The next year, with the topsy-turvy way that frequently happens in Stage- 
land, Mr. Haworth was starring in Shakespearean repertoire with Miss 
Galland as his leading woman. It was the night of March 6, 1900, at the 
Criterion Theatre, that Miss Galland made her New York debut, playing 
the Princess Ottilie in “ The Pride of Jennico,” supporting James K. Hackett. 
She re-entered the stellar arena, the season of 1901-02, under Daniel Froh- 
man’s direction, playing “ The Forest Lovers ” and “ The Love Match,” and 
was seen the year following in “ Notre Dame,” in none of which did she 
meet with success. She had far better luck during a two-years’ term in 
“ Dorothy Vernon of Haddon Hall,” and the season of 1905-06 she appeared 
under David Belasco in “ Sweet Kitty Bellairs.” For the past two years, 
however, Miss Galland has not appeared on the stage, owing to her indus¬ 
trious hunt for an acceptable starring vehicle, and her absence has been a 
real, poignant loss to our stage, which can only be remedied by her prompt 
return. 


256 


November 16 


Percy Winter 


"THE greater part of Percy Winter’s stage career has been spent in the 
capacity of stage director, and he has made quite an enviable record 
through his ability along this line. The son of the well-known critic, 
William Winter, he was born in Toronto, Canada, and began his stage 
career in 1877, being a youngster of sixteen at the time, playing the Boy in 
‘ Henry V.,” supporting George Rignold. The next year he was assistant 
stage manager at the Fifth Avenue Theatre, and the season following 
appeared in a like capacity on the road with the Madison Square Theatre 
Company. Mr. Winter next spent two seasons in the support of Genevieve 
Ward, and then came three years in Lawrence Barrett’s company. He then 
appeared one season with Helen Dauvray, returned to Miss Ward’s company 
for a season, playing in “ Forget-Me-Not ” and “ The Queen’s Favorite,” 
and was on tour a year as Professor Browning in “ Our Society.” In 1888, 
Mr. Winter was engaged as stage manager by A. M. Palmer, appearing with 
“ Jim the Penman,” “ Saints and Sinners ” and “ Aunt Jack.” He was also 
seen in the support of E. S. Willard, upon the occasion of that actor’s debut 
upon the American stage, at Palmer’s Theatre, November 10, 1890, playing 
Daneper in “ The Middleman.” Mr. Winter was then director-in-chief of the 
Theatre of Arts and Letters, which went to pieces in May, 1893, after a 
six months’ existence, and practically ever since then he has been engaged 
in the present-day stock company field, being stage manager for organizations 
in Washington, Boston, Baltimore, Denver, Kansas City, Providence, Buffalo 
and Cleveland. 




November 



Herbert 



A GREAT favorite among England's foremost leading men and not wholly 
unknown to theatregoers in this country, Herbert Waring has upheld an 
unusually high standard during his long career as an actor, and an easy 
thing it is to understand the success that has been his. Mr. Waring is 
a Londoner by birth, his real name being Rutty, and he started out in life 
as a schoolmaster. A short time at this and he was attracted by the glare 
of the footlights, making his debut as an actor in 1877 at the Adelphi in 
Boucicault’s “ Formosa.” He first attracted attention in the support of 
Adelaide Neilson, later touring the provinces as Captain Hawtree in “ Caste.” 
He then appeared at the St. James Theatre for five years with Mr. and Mrs. 
Kendal. Mr. Waring made his American debut on November 13, 1888, at 
Palmer’s Theatre, appearing with Mary Anderson, playing Polixenes in 
“ The Winter’s Tale,” Claude Melnotte in “ The Lady of Lyons ” and 
Pygmalion to her Galatea. Upon his return to London his services were 
in demand at all the leading playhouses, and many were the successes to 
his credit. He re-appeared in this country the season of 1901-02, being 
leading man with Mrs. Patrick Campbell, the first season she toured here. 
Mr. Waring has since figured in the following London successes: with Forbes 
Robertson in “ Othello,” Cyril Maude in “ Joseph Entangled,” Lena Ashwell 
in “ Leah Kleschna,” George Alexander in “ His House in Order ” and 
succeeded Leonard Boyne in “ The Stronger Sex.” The season of 1907-08, 
Mr. Waring was seen in the support of John Hare, playing Captain Hawtree 
in “ Caste ” and Sir Chichester Frayne in “ The Gay Lord Quex.” His 
position is one of dignity and influence in British theatricals. 


November 18 


Alice Leigh 

A LICE LEIGH has contributed a notable number of character portrayals 
to the New York stage, excelling in gentle, tender, motherly type of 
roles, and as a delineator of negro “mammy” parts she enjoys a 
most enviable reputation, within the last dozen years having contributed 
three such roles to the New York stage, to the great joy and delectation 
of our theatregoers. Over twenty years ago, Miss Leigh attracted not a 
little attention in the support of Kate Claxton, being a member of her com¬ 
pany for several seasons, appearing with her in “ The Two Orphans,” “ The 
World Against Her ” and “ Booties’ Baby.” She next won note in the 
original production of “ Blue Jeans,” playing Cindy Tutewiler, at the Four¬ 
teenth Street Theatre, and for quite a time following this was seen in 
Richard Mansfield’s support, playing in “ Beau Brummell,” “ A Parisian 
Romance,” “ Dr. Jekyll and Mr. Hyde,” etc. Miss Leigh then created the 
part of the negro servant, Martha, in “ Secret Service,” with William Gillette, 
in which part she flourished triumphant for three consecutive years. Then 
came two years in a similar role, Mammy Lu, in “ Barbara Frietchie,” sup¬ 
porting both Julia Marlowe and Effie Ellsler in this piece. After this came 
Aunt Doshey in “ Under Southern Skies,” with Grace George, finishing her 
period as an actress of negro parts. Since the spring of 1902, Miss Leigh has 
filled the following engagements: on tour in the West in “ The Starbucks,” 
with Alice Fischer in “ Mrs. Jack,” with Jessie Millward in “ A Clean 
Slate,” in “ The Little Gray Lady,” with James J. Corbett in “ Cashel Byron’s 
Profession,” in “ The Redskin ” and with Percy Haswell in “ A Midsum¬ 
mer’s Eve.” Beginning with the fall of 1906, Miss Leigh created the role 
of Mrs. O’Brien in “ The Chorus Lady,” with Rose Stahl, and she has con¬ 
tinued successfully in this role ever since. 


November 19 Edna Fassett 

P DNA FASSETT, of a most attractive, dainty type of blonde beauty, has 
■*— 1 certainly gone ahead rapidly during her short stage career of less than 
four years, and in the world of light opera, to which she devotes her 
talents, she has become a conspicuous figure, one rich in promise of the 
greater development to come. A native of St. Louis, Miss Fassett began her 
climb up the stage ladder in the spring of 1905, playing the role of Donna 
Dolores in “ The Filibuster,” in Boston. In the fall of that year she created 
the role of Fanchette in “Mile. Modiste,” in the support of Fritzi Scheff, 
also acting in the capacity of understudy to the star, playing the title role 
on many 'occasions during the season, always with decided credit to herself. 
The summer of 1906, Miss Fassett was leading lady of the Stewart Opera 
Company in Rochester, N. Y., singing the leading roles in the following 
operas: “Dorothy,” “The Chimes of Normandy,” “ Babette,” “ Fatinitza,” 
“ Girofle-Girofla,” “ The Bohemian Girl,” “ The Two Roses,” “ The Mikado’” 
and “ Faust.” She re-joined Miss Scheff’s forces the next winter, later 
replacing Sallie Fisher as prima donna with Frank Daniels in “ The Tat¬ 
tooed Man.” The season of^ 1907-08. she appeared with Montgomery and 
Stone, playing Gretchen in “ The Red Mill.” Miss Fassett has unquestionably 
been most fortunate in the calibre of her engagements and the splendid 
opportunities that have been hers. But she is gifted with a most delightful 
personality, a sweetly charming, soprano voice and 'that rarest gift of the 
gods, magnetism, so her rapid progression is not so difficult to understand. 


November 20 


Zeffie Tillbury 


MOW that she has married an American actor and has been identified with 
theatricals in this country for the past four years, we begin to feel as 
though Zeffie Tillbury belongs to us. But goodness knows she’s far 
from being a stranger in our midst, as it’s over twenty years now since she 
first appeared here. Miss Tillbury was born in London, a daughter of the 
famous Lydia 1 hompson, and she began her stage career in 1882 at the Roy¬ 
alty Theatre, London, in the burlesque of “ Pluto.” She knew many suc¬ 
cesses in the British capital during her early days, playing a number of high- 
comedy roles, and in 1885 she became a member of Mary Anderson’s com¬ 
pany, and remained a member of that actress’ support until her retirement 
in 1889, including two tours of this country. Miss Tillbury was also over 
here in ^the early ’90’s, touring as Mrs. Eastlake Chapel in “ The Crust of 
Society.” For a long time after this she was identified with the London 
stage, and, among other engagements, she was at the Lyceum in “ For Auld 
Lang Syne,” played Isabel in “ Henry V ” with Lewis Waller and was with 
Beerbohm Tree, playing Lady Carrollby in “The Last of the Dandies” and 
Anne Page in “ The Merry Wives of Windsor.” Miss Tillbury then returned 
to this country, and on September 8, 1902, opened as leading woman of the 
Bowdoin Square Stock, Boston. Before the close of this same season she 
joined Nat C. Goodwin’s company, taking Maxine Elliott’s place in “The 
Altar of Friendship.” The two seasons following this she was a member of 
Viola Allen’s company, playing Maria in “Twelfth Night” and Paulina in 
“ The Winter’s Tale.” The season of 1905-06, she was with the Empire 
Stock, Boston, and then re-joined Miss Allen’s company. In reference to 
the opening sentence in this sketch, Miss Tillbury is married to L. E. 
Woodthorpe, the well-known California actor. She is a charming, womanly 
actress, and her Maria in “ Twelfth Night ” is one of the happiest portrayals 
of this role seen in the present generation. 




November 



LMA MURRAY has had a long and successful career on the English 



** stage, winning favor a few years ago as a leading woman, and she 
has now passed on to the field of character work. Hers was an excep¬ 
tionally active career in her youth, playing leads in many important London 
productions, and she has always found a ready demand for her services. 
Miss Murray is a Londoner by birth, her father, Leigh Murray, having been 
an actor, and she had some little experience as a child actress. She won 
her first note as an adult player in 1879 i n the support of Sir Henry Irving, 
with whom she was seen in “ Richelieu,” “ The Merchant of Venice,” “ The 
Bells ” and “ The Lyons Mail.” She was then seen at the Vaudeville 
Theatre in a number of old comedies—such as “ The Road to Ruin,” “ The 
Rivals,” “London Assurance” and “Money,”—after which she was Kate 
Hardcastle in “ She Stoops to Conquer,” at the Olympic, and played Juliet 
in “ Romeo and Juliet,” at Edinburgh. For a long time after this Miss 
Murray played leads in all the principal London theatres, two of her biggest 
successes being as Raina in “ Arms and the Man ” and Mrs. Sylvester in 
“ The New Woman.” She then made quite a name for herself on the lecture 
platform, appearing in this field for several years in both London and the 
provinces. In 1902, Miss Murray joined John Hare’s company, playing 
Clarissa in “ The Sequel,” and the following year was in the melodrama, 
“ The Woman from Gaol.” A brief return to the lecture field followed this, 
and in 1905 she was seen at His Majesty’s Theatre with Beerbohm Tree 
as Mrs. Maybe in “ Oliver Twist.” Her most recent work was as Anna 
Magnusson in “ The Prodigal Son,” touring the provinces. Miss Murray 
may certainly pride herself upon the high standard and dignity that she has 
maintained throughout her entire stage career. 


259 


Melbourne MacDowell 


November 22 


M ELBOURNE MacDOWELL has held a prominent place among the 
stellar lights on the American stage for a number of years, and, upon 
the strength of a splendid physique and magnetic personality, plus 
an uncommonly fine acting talent, he has held his own with our theatre¬ 
goers to a wonderful degree. Born in Little Washington, N. J., being a 
younger brother of the late well-known actor, Eugene A. MacDowell, he 
began his stage career in Montreal, Canada, in a stock company managed 
by his brother, later appearing with similar organizations in Boston, at the 
Museum, and in Minneapolis. For several seasons following this, Mr. Mac¬ 
Dowell was identified with traveling companies in “ The Black Diamond 
Engineer.” in “ Hazel Kirke,” with Joseph Murphy in “ Kerry Gow ” and 
Minnie Maddern in “ Caprice.” He then joined the forces of Fanny Daven¬ 
port, whom he married in 1889. and up until the time of her death, in 
1898, he was her principal support, appearing with her in “ La Tosca,” 
“ Fedora,” “ Cleopatra.” “ Gismonda ” and “ Joan.” Upon the death of Miss 
Davenport, he formed an alliance with Blanche Walsh, and for two years 
the MacDowell-Walsh combination toured most successfully in the Sardou 
dramas. During the next five years. Mr. MacDowell played stock-starring 
engagements in these same plays, appearing for weeks at a time in such 
cities as Chicago, Brooklyn, St. Louis, New Orleans, Memphis, Kansas 
City, San Francisco, Los Angeles, Oakland, Portland, Minneapolis, Mil¬ 
waukee, Cincinnati, etc. He appeared in the East, the season of 1905-06, in 
a piece called “ That’s John’s Way,” the next season playing Javert in “ The 
Law and the Man,” with Wilton Lackaye, and, 1907-08, he was seen in 
vaudeville in a dramatic playlet entitled, “ The Oath.” 






November 



IV/I ANY are the complimentary and enthusiastic things that one hears of 
the work of Izetta Jewel on the Pacific coast, and she is likely to be 
crowned with high professional honors when she re-appears in Eastern 
theatricals. She is one of the most promising young players on the American 
stage at the present moment, and her future is pretty sure to reveal an 
exceptionally high standard of excellence. Miss Jewel was born at Hack- 
ettstown, N. Y., her family name being Kenney, but she has lived most of 
her life in Boston, Mass. She was scarcely more than a school-girl when 
she began her stage career, in the summer of 1900, with a Southern stock 
company, her first role being Lavender in “ Sweet Lavender.” The season 
of 1900-01, she played Poppcea in “ Quo Vadis,” in the small towns, followed 
by a summer engagement with the Katherine Rober Stock, Providence, R. I. 
The next season Miss Jewel was a member of the Rowe-King repertoire 
company, touring New England, after which she played juvenile roles for 
■over a year with the Castle Square Stock, Boston. She began the season 
of 1903-04 by being featured in “ Near the Throne,” on tour, was next lead¬ 
ing lady with Richard Buhler in “ Paul Revere,” then played leads with the 
Pawtucket Stock, in the Rhode Island town of that name, afterward sup¬ 
ported Charles Bradshaw in vaudeville in “ Fix in a Fix ” and finally headed 
the Jewel-Archer Stock at Salem, Mass. The season of 1904-05, she was 
with the Bennett-Moulton repertoire company, and with the Mortimer Snow 
Stock, Schenectady, N. Y., followed by a season with Proctor’s Harlem Stock. 
Miss Jewel went to California in the fall of 1906, and was the first leading 
woman in the first theatre in the new San Francisco, playing with the 
Colonial Theatre Stock, and, 1907-08, she divided her time between the 
Bishop Stock, Oakland, Cal., and the Baker Stock, Portland, Ore., two of 
her biggest successes being Salome and Zaza. 


November 25 


G. W. Anson 


W. ANSON is one of England’s leading character actors, and not 
only is his reputation of the best in his native land, but he is also 
well known to theatregoers in America. Born in Montrose, Scotland, 
Mr. Anson began his stage career in 1865 in stock at the Theatre Royal, 
Edinburgh. He played in the provinces for several years, and even made his 
American debut before appearing in London, opening here at Niblo’s Gar¬ 
den on March 4, 1872, with Mrs. John Wood in “ La Belle Savage.” He 
made his first appearance in the British capital on October 4th, of the 
year following, playing with Henry Neville at the Olympic in “ Sour 
Grapes,” “ Much Ado About Nothing,” “ Clancarty,” “ The Ticket-of-Leave 
Man,” etc. For many years following this Mr. Anson’s services were in 
much demand in London’s leading theatres, creating many new roles. He 
paid a professional visit to Australia in 1885, remaining there seven years. 
He then returned to London, and was again greatly in demand, supporting 
Beerbohm Tree, John Hare, etc. Mr. Anson re-appeared on the American 
stage, the season of 1897-98, appearing first in Hammerstein’s production 
of “ La Poupee,” with Anna Held, was next in the one-act farce, “ A Close 
Shave,” at the Manhattan, and for a long time supported Julia Marlowe, 
with whom he played General Lamarrois in “ The Countess Valeska” and 
Touchstone in “ As You Like It.” Mr. Anson’s most recent work in London 
has been in the support of Beerbohm Tree, appearing with that actor in 
“ The Mystery of Edwin Drood,” “ The Beloved Vagabond,” “ The Mer¬ 
chant of Venice,” “ The Merry Wives of Windsor ” and “ Hamlet,” being 
greatly praised by the English press for his Old Gobbo in “ The Merchant 
of Venice.” A sturdy, reliable character actor is Mr. Anson, and his success 
is well merited. 


Hi 5 


November 26 Janet Priest 

A DIMINUTIVE bit of femininity, quite attractive and bewitching, too, 
Janet Priest has received considerable encouragement at the hands of 
our theatregoers as a player of rather bizarre parts. She displays keen 
insight and intelligence in the handling of her roles, investing each with 
an uncommon sense of characterization, and though her opportunities have 
been comparatively few, yet she gives promise of developing into an unu¬ 
sually clever little comedienne. Miss Priest was born in East Lowell, Me., 
but while she was still a child her family moved to Minneapolis, Minn., and 
it was there she was educated at the East High School. Later she gradu¬ 
ated from the University of Minnesota, carrying off the degree of B. L. 
Miss Priest then became dramatic and literary editor of the Minneapolis 
Tribune, through which position she came into close touch with matters 
threatrical, and determined to become an actress herself. She made her 
debut on June 15, 1902, at the Metropolitan Theatre, Minneapolis, with the 
Frawley Stock Company, playing ’Liz’beth in “ In Mizzoura ” for a week. 
She returned to her newspaper work for quite a time after this, and was 
not seen behind the footlights again until the season of 1903-04, when she 
appeared on the road in the melodrama entitled “ The Little Outcast.” The 
season following this Miss Priest was quite successful as Muggsy in “ The 
Maid and the Mummy,” which part she played two years, and the season 
of 1906-07, she appeared first as Nancy Peters in “ A One Horse Town ” and 
later was May Flood in “ His Honor the Mayor.” On June 12, 1907, Miss 
Priest married Thomas Robb, Jr., a wealthy young Philadelphian, and an¬ 
nounced her retirement from the stage. Her matrimonial venture has proven 
an unsuccessful one, however, and she will soon be seen behind the foot¬ 
lights again. 


November 27 


Franklin Jones 


A MONG the myriad of juvenile actors now disporting themselves on the 
** American stage, Franklin Jones stands out in bold, vivid relief as a 
young player of uncommon promise, possessing youthful enthusiasm, 
magnetism, intelligence and artistic perception, so that his should be a most 
generous professional reward. Born in Auburn, N. Y., Mr. Jones made his 
stage debut on January 21, 1901, with the Neill Stock Company, in Buffalo, 
in “ Held by the Enemy.’’ After a stock term with the Kingdon-Courtenay 
Company in Albany, the summer of 1902, he appeared on tour with Helen 
Grantley as Glen Masters in “ Her Lord and Master,” later playing the 
Imp in “ When We were Twenty-one,” with William Morris, in both of 
which roles he was highly successful. A return to Albany in stock followed 
this, and the season of 1903-04 he created the role of Jack Primrose in “ Polly 
Primrose,” in the support of Adelaide Thurston. He was back in Albany 
again, with the Kingdon-Courtenay forces, in the summer of 1904, after 
which he was seen in vaudeville for a brief time with Rose Coghlan, playing 
Captain Prescott in the sketch, “ Lady Clivebrook’s Mission.” He then 
re-joined Miss Thurston to play his original role in “ Polly Primrose.” For 
quite a time after this Mr. Jones was lost to the stage world, being engaged 
in the office of the Southern Pacific Railroad in Portland, Ore. But the lure 
of the footlights proved more than he could resist, and he was back in 
harness again thq season of 1907-08, playing John Cartwright in “ Brown 
of Harvard,’* with Henry Woodruff. Mr. Jones deserves every recognition 
in his profession as a thoroughly sincere, earnest young actor, and his 
professional outlook is one of most liberal proportions. 





Kellett Chambers 


November 28 


I^ELLETT CHAMBERS, in a rather modest and unostentatious way, is 
*making quite a name for himself among American playwrights, espe¬ 
cially when one considers that he has been in the dramatic arena only 
a little over three years in all. Mr. Chambers was born in Sydney, Aus¬ 
tralia, being a son of John Ritchie and Frances (Kellett) Chambers, and 
brother to C. Haddon Chambers, the distinguished dramatist. After being 
educated at Newington College, Stanmore, Australia, Mr. Chambers em¬ 
barked upon a journalistic career, and he was engaged as a newspaper writer 
for many years, fulfilling duties in his native country, London, New York 
and San Francisco. Mr. Chambers’ first play was “ Abigail,” produced in the 
spring of 1905 by Grace George, and a few weeks later W. A. Brady brought 
out his second piece, “A Case of Frenzied Finance.” His next play was a 
dramatization of “ David Copperfield,” produced in England by Charles 
Cartwright, and Lillian Russell had a most successful tour, during 1906-07, 
in his “ The Butterfly.” A goodly record this for a new dramatist, and 
Mr. Chambers’ future dramatic output will be awaited with interest. 


262 


November 29 Trixie Fnganza 

A S a delineator of comedy roles, Trixie Friganza occupies a most con- 
spicuous place on the American stage, and her bubbling, effervescent 
spirits have placed her in a category pretty much by herself. With¬ 
out stooping to coarseness or vulgarity, or even suggestiveness, . this ad¬ 
mirable comedienne can gain the good will of her audience merely on the 
strength of her high spirits and wonderful type of rich, Spanish beauty. 
It’s a pure joy just to look at Miss Friganza, and 
this, added to her abilities as a fun-maker, causes 
her to be an indispensable factor in the theatre 
world. Born in Cincinnati, Ohio, of Irish-Spanish 
parentage, Miss Friganza spent her early stage 
days alternating between the chorus and small 
parts, though she did play the Widow Guyer in a 
traveling company of “ A Trip to Chinatown.” 

She was also well placed in the support of Henry 
E. Dixey in a repertoire of standard operas, with 
Della Fox in “The Little Trooper” and “ Fleur- 
-de-Lis,” and Anna Held in “ La Poupee.” How¬ 
ever, it was not until the season of 1900-01 that 
Miss Friganza began to advance steadily in her 
professional work, appearing at the Casino in 
“ The Belle of Bohemia.” She accompanied this 
piece to London, and remained in the British 
capital to play at the Century Theatre with Henry 
E. Dixfey in “ The Whirl of the Town.” Re¬ 
turning to America late in 1901, Miss Friganza 
was featured in the title role in “ The Girl from 
Paris,” and a short time after she became leading 
lady in “ The Chaperons.” She then played the 
name part in “ Sally in Our Alley ” with great 
success, afterward being Mrs. Madison Crocker in 
“ The Prince of Pilsen,” including a long , tour in, this copntry and a term 
at the Shaftesbury Theatre, London. Miss Friganza was next seen in “ The 
Sho-Gun ” at Wallack’s, and for a long time was a stellar light in Joe 
Weber’s company in “ Higgledy Piggledy ” and “Twiddle Twaddle.” She 
then appeared in Chicago in “ The Three Graces,” and for a short time 
was leading lady in “ His Honor the Mayor.” In the spring of 1907, she 
originated in this country the role of Caroline Vokins in “ The Orchid,” 
in which she scored a tremendous personal triumph, and more recently she 
has been a star headliner in vaudeville. Miss Friganza has a method dis¬ 
tinctly her own, frankly wholesome and ingenuous, with a superabundance 
of magnetic good nature, and her steady growth in professional caste is 
a splendid tribute to her brains, talent and ambition. 



All brilliant flowers are pale and dead 
And sadly droop to earth, 

While pansies, chill in velvet robes, 

Count life but little worth; 

But in these dark November Days 
That wander wild and wet, 

Our thoughts are winged to summer hours 
On breath of mignonette. 


263 




November 30 John Glendenning 

J OHN GLENDENNING has long occupied a conspicuous position among 
the very best of the leading actors on the American stage, and his name 
and position are of a calibre that any actor might well envy. There is 
a distinction and power about everything this actor does behind the foot¬ 
lights, and he carries strength and conviction in every role he undertakes. 
Mr. Glendenning came into the world at Whitehaven, Cumberland, Eng¬ 
land, a member of a well-known Scotch family. After considerable expe¬ 
rience as an amateur, he made his professional debut in 1880 in the 
support of Alexander Wright, at the Theatre Royal, Greenock, Scotland. 
His first years behind the footlights were devoted to Walter Bentley’s 
Shakespearean company, playing Mercutio and Iago, and with such melo¬ 
dramas as: “ Taken from Life,” “The Silver King,” “Harbor Lights,” 
“ In the Ranks,” “ The Silver Shield ” and “ Hands Across the Sea.” Mr. 
Glendenning joined Mr. and Mrs. Kendal in May, 1889, coming to America 
with them in the fall of that same year, appearing at the Fifth Avenue 
Theatre in “The Ironmaster,” “Impulse,” “A White Lie” and “The 
Queen’s Shilling.” From that time on he has been conspicuously associated 
with American theatricals, appearing in “ Good Old Times,” at the Four¬ 
teenth Street Theatre, in “ Thou Shalt Not,” at the Union Square, in 
“ An English Rose,” in the original production of “ Friends ” and with the 
Ramsay Morris Comedy Company in “ Joseph.” He spent one season as 
leading man with Clara Morris, supporting her in “ Camille,” “ Claire,” 
“ The New Magdalen ” and “ Renee.” In the spring of 1895, Mr. Glen¬ 
denning made a big success by his creation of the Laird in “ Trilby.” He 
then returned to England, where he starred for three years in a Shake¬ 
spearean repertoire—Macbeth, Othello, Shylock, etc. The season of 1899-00 
found Mr. Glendenning back in America, supporting Olga Nethersole in 
“ Sapho ” and “ The Profligate,” and the season following he divided between 
Mrs. Le Moyne in “ The Greatest Thing in the World ” and Henrietta 
Crosman in “ Mistress Nell.” After a brief appearance in “ The Last 
Appeal,” he spent three years in Annie Russell’s company, playing in “ The 
Girl and the Judge,” “Mice and Men” and “The Younger Mrs. Parling.” 
He divided the season of 1904-05 between “ Joseph Entangled,” supporting 
Henry Miller, and “ Mrs. Leffingwell’s Boots,” the year following being 
leading man with Nance O’Neil, accompanying her to Australia. Mr. 
Glendenning was next seen as Sir John Plugenet in “ The Hypocrites,” and 
the season of 1907-08 he was first with Viola Allen in “ Irene Wycherly,” 
and then in Chicago with Will T. Hodge.in “The Man from Home.” 



Now Neptune’s sullen month appears. 

The angry night-cloud swells with tears, 
And savage storms infuriate driven, 

Fly howling on the face of heaven! 

Now, now, my friends, the gathering gloom 
With roseate rays of wine illume; 

And while our wreaths of parsley spread 
Their fadeless foliage round our head, 

We’ll hymn the almighty power of wine, 

And shed libations on his shrine! 

—Moore. 


204 



DION BOUCICAULT. 


Born, December 26, 1822. 


Died, September 18, 1890. 







December 1 Henry B. Harris 

ITENRY B. HARRIS is constantly growing in import as a theatrical man- 
A A ager and, while it may be business sagacity or just plain, everyday luck, 
he has been exceptionally fortunate in his various stage ventures, select¬ 
ing plays that enjoy far more than the average length of “play-life.” Born 
in St. Louis, Mo., Mr. Harris spent his youth in Boston, Mass., and was 
educated there at the public schools. After graduating from the Boston 
High School, he became interested in theatrical affairs through his father, 
William Harris, of the firm of Rich and Harris, and for a number of years 
he was actively concerned in business enterprises connected with that firm. 
However, he became anxious to embark upon a wider and more ambitious 
field, and, while acting as manager for Amelia Bingham in 1902, he con¬ 
cluded arrangements to star Robert Edeson in “ Soldiers of Fortune.” He 
has guided the destinies of this actor ever since, including two seasons in 
“ Soldiers of Fortune,” one in “ Ranson’s Folly,” three in “ Strongheart ” 
and one in “ Classmates.” In 1903, Mr. Harris became lessee of the Hudson 
Theatre, one of New York’s most attractive playhouses, which he has man¬ 
aged most successfully. He produced “ The Lion and the Mouse ” in 1904 
as a chance speculation, and the play has proven one of the biggest hits of 
the century, running at the Lyceum Theatre in New York for seventy-two 
consecutive weeks. Mr. Harris’ offerings for the season of 1907-08 will 
include three companies in “ The Lion and the Mouse,” Rose Stahl in “ The 
Chorus Lady,” “The Traveling Salesman” and new plays for Robert 
Edeson, Edmund Breese, Thomas W. Ross, Edgar Selwyn, Dorothy Don¬ 
nelly and Henrietta Crosman. Rather a busy and enterprising outlook this. 




December 2 Fanny Addison Pitt 

F ANNY ADDISON PITT is one of our most talented and popular char¬ 
acter actresses, her services being in Broadway demand every season, 
and there are few more capable than she in her particular line. She 
has a distinctly vivid, forceful personality, one not easily forgotten, added 
to an uncommonly fine technical skill, and ’tis an easy thing to understand 
why her name appears with such frequency upon New York play-bills. She 
is an Englishwoman by birth, the widow of Henry M. Pitt, the well-known 
actor and she has been identified with theatricals in this country for oyer 
twenty-five years, having gained her early stage experience in her native 
country. Mrs. Pitt was a member of Wallack’s company for a number of 
years and has also plaved in numerous traveling and stock companies over 
the country. She was a member of E. H. Sothern’s company for two sea¬ 
sons, playing Lady Shuttleworth in “ Sheridan ” and Pamela m “ The Way 
to Win a Woman.” She was then seen in Sol Smith Russell’s support for 
five consecutive years, appearing with this star in “ The Rivals,” in which 
she played Mrs. Malaprop; “ An Every-day Man,” “ A Poor Relation, A 
Bachelor’s Romance,” “ Uncle Dick” and “ The Hon. John Grigsby. After 
this came three seasons with Ethel Barrymore, appearing in Captain Jinks 
of the Horse Marines,” “ Carrots ” and “ A Country Mouse.” The season 
of 1903-04, Mrs. Pitt was seen with Virginia Harned in “ The Light that 
Lies in Woman’s Eyes ” and “ Camille,” and at the Savoy in “ Glad of It,„ 
the next season returning to Miss Barrymore’s company in “ Cousin Kate ’ 
for a brief time, and then supported Maxine Elliott in Her Own Way. 
She was next with Viola Allen in “The Toast of the Town,” then in ‘Cape 
Cod Folks ” afterward with W. H. Crane and Ellis Jeffreys in She Stoops 
to Conquer” and, 1907-08, returned again to the Barrymore fold to play 
Mrs. Bickley in “Her Sister.” 


267 


December 3 


Jules Claretie 


HTHE name of Jules Claretie is very well known to visiting Americans in 
*■ Paris, while to the native Parisian he is one of the most highly revered 
and greatly beloved of all the figures in modern French Stageland. His 
has been a wonderfully successful career, crowded with fame and honors, 
and in the world of art and letters he is a pre-eminent figure. M. Claretie 
was born at Limoges, being christened Jules Arsene Arnaud, and was edu¬ 
cated in Paris. As a youth he served as a war-correspondent in Italy, and 
later in a similar capacity at Metz. He was appointed director of the 
world-famous Theatre Frangais in 1885, and has successfully held this post 
ever since, covering himself with glory times without number, and he has 
given to France some of her best actors. M. Claretie was decorated as 
Officer of the Legion of Honor, in 1887, and as Commander of the Legion 
of Honor, in 1894. He has written any number of plays, novels and his¬ 
torical books that have brought him added fame and reputation, and his 
position is one of enviable prominence throughout France’s world of letters. 






Russell 


December 4 


AVT’ORDS are superfluous in extolling Lillian Russell’s beauty, every 
superlative adjective, and its synonyms, having been exhausted in this 
respect many years ago, and, truth to tell, all of them are as apropos 
to-day as when she first began her career. Miss Russell came into the. world 
in Clinton, Iowa, her father being proprietor of a newspaper, a man of 
great culture and brilliancy, while her mother was most active as a woman’s 
rights advocate. When a child of four her family moved to Chicago, and 
it was here that she was educated, at the Convent of the Sacred Heart. 
Even in those early days her singing voice was one of uncommon quality, 
and, after some preliminary studies in Chicago, she came to New York to 
study for grand opera. But these plans went far astray, when Tony Pastor, 
hearing her sing one day, offered her an engagement as ballad singer at 
his theatre. She accepted this and, almost with her debut, became a reign¬ 
ing favorite. She left the Pastor forces to become prima donna with the 
McCaull Opera Company, singing in “ The Snake Charmer,” “ Olivette,” 
“ Patience ” and “ The Sorcerer.” After a brief appearance at the Casino, 
Miss Russell sang in London for two years in “Virginia,” “Polly” and 
“ Pocahontas,” and upon her return to this country she appeared with the 
Duff Opera company for two seasons. Beginning in 1886, and for thirteen 
years thereafter, she knew light opera triumphs the like of which no other 
prima donna, before or since, has ever known, appearing, during those years, 
in “ Pepita,” “ The Maid and the Moonshiner,” “ Dorothy,” “ The Queen’s 
Mate/’ “ Nadjy,” “ The Brigands,” “ The Grand Duchess,” which is her 
favorite opera; “Poor Jonathan,” “Apollo,” “La Cigale,” “The Mounte¬ 
banks,” “ Girofle-Girofla,” “ Princess Nicotine,” “ The Queen of Brilliants,” 
“ The Little Duke,” “ La Perichole,” “ La Tzigane,” “ The Goddess of 
Truth,” “ An American Beauty,” “ The Wedding Day,” “ La Belle Helene ” 
and “ Erminie.” Miss Russell joined the forces of Weber and Fields on 
September 21, 1899, remaining the big star feature of their company for five 
years, then came a season as a star in the opera of “ Lady Teazle,” followed 
by a term in vaudeville. The season of 1906-07, she made a radical de¬ 
parture by appearing in straight comedy, “ Barbara’s Millions,” followed by 
another along the same lines, “ The Butterfly ” and, 1907-08, she toured in 
a comedy entitled, “ Wildfire.” 


268 


December 5 Beatrice McKenzie 

DEATRICE McKENZIE has occupied a conspicuously successful posi- 
tion in the stage world for a number of years, and as a light opera 
singer few are better known than she. Of a pleasing and magnetic 
personality, with a soprano voice of exceptional power and sweetness, she 
is well fitted for only the best attainments in the operatic world, and it 
is a splendid thing to note that her talents have met with just, appreciative 
recognition. Miss McKenzie was born in Cleve¬ 
land, Ohio, but passed her childhood in Chicago, 
being a graduate of the Chicago High School. 

While still a schoolgirl she began the cultivation 
of her voice, which even in those days showed 
the promise of its later development, and studied 
for seven years under Emil Leibling. She was 
two years sight reader and accompanist at the 
Chicago Conservatory of Music. It was after 
this that Miss McKenzie decided to use her vocal 
talents to more advantage and made her stage 
debut as a member of the Calhoun Opera Com¬ 
pany. An engagement with John Griffith in 
“ Faust ” followed this, and then for two years 
she sang the leading soubrette roles in repertoire 
opera at the Schiller Theatre, Chicago. It was 
during this engagement that Miss McKenzie met 
Otis B. Thayer, and she starred under his man¬ 
agement for quite a time. She then played one 
of the leading parts in “ Hotel Topsy Turvy,” in 
which she acted as understudy to Marie Dressier, 
after which she appeared under Broadhurst and 
Currie, playing Stella Comstock in “ Rudolph and 
Adolph.” Miss McKenzie was next seen- as 
Flora Jane Fibby in “ The Tenderfoot,” support¬ 
ing Richard Carle, and later created the role of General Jinjur in “The 
Woggle Bug,” and succeeded May de Sousa as the Jack of Hearts in “ The 
Land of Nod.” More recently she has devoted her talents to the vaudeville 
stage, in company with Walter Shannon, presenting operatic sketches, their 
latest offering being, “ Stop the Ship,” a most entertaining novelty. Miss 
McKenzie, as can easily be seen, has been most fortunate in her stage career, 
having filled first-class engagements exclusively, and all credit to her that 
she has upheld so high a standard in her work. 





December drops no weak, relenting tear 
By our fond summer sympathies ensnared, 

Nor from the perfect circle of the year 
Can even Winter’s crystal gems be spared. 

—C. P. Cranch’s “ December.” 


200 




December 6 


Clara Lipman 


A CONSPICUOUSLY successful figure in the theatre world, both as 
* * actress and dramatist, Clara Lipman, probably for reasons best known 
to herself, is no longer as actively engaged behind the footlights as 
she was a few years ago, and it is a pity, too, for she is too clever an 
actress to allow herself the privilege of remaining in comparative seclusion 
for such a long time. A native of Chicago, Ill., Miss Lipman began her stage 
career in the Kiralfys’ production of “ The Rat Catcher.” Then came a term 
in the support of Madame Modjeska, followed by a season with Fred Mitter- 
wurzer, the German actor. It was after this that Miss Lipman scored her 
first big success, playing Molly Sommers, the giggling girl, in “ Incog,” with 
Charles Dickson. She was next seen as Madge in “ Little Tippett,” at Herr¬ 
mann’s Theatre. It was about this time that Miss Lipman married Louis 
Mann, the well-known actor, and thereafter was associated with him in many 
plays, two of their earliest successes being in “ The Laughing Girl ” and 
“ The Strange Adventures of Miss Brown.” The season of 1896-97, Miss 
Lipman played the title role in “ The Girl from Paris,” followed by two 
seasons in “ The Telephone Girl,” in which she did notably good work. Then 
came a season divided between “ The Girl in the Barracks ” and “ Master and 
Pupil,” and the two years thereafter she appeared respectively in “ All On 
Account of Eliza ” and “ The Red Kloof.” Miss Lipman then disappeared 
from public view, emerging from her retirement the season of 1905-06 to 
create the title part in a play from her own pen entitled, ‘‘Julie Bon-Bon,” 
quite a cleverly written piece of dramatic fare, but after a year in this piece 
she again left the stage. She will in all probability re-appear in active 
harness again in another play written by herself. 




December 7 


Gertrude 



ERTRUDE BINLEY is a young Boston actress who did notably good 
work on Broadway one season in the support of Nance O’Neil, and it 
seems rather an odd thing that she has not appeared more frequently 
in New York theatricals. She is a decidedly clever actress of ingenue roles, 
with an uncommonly good command of her emotional powers, and there is 
every reason to believe that she has a successful future before her. Miss 
Binley’s home is at Brookline, Mass., where a few years ago she was an 
active participant in amateur theatricals with the Criterion Club. She made 
her^ debut as a full-fledged professional in the support of James A. Herne 
in “ Sag Harbor,” and first appeared on the New York stage with Clara 
Bloodgood in the original production of “ The Girl with the Green Eyes.” 
After two seasons with Mrs. Bloodgood, Miss Binley became leading woman 
with Nance O’Neil, appearing in her support at Daly’s, and her training 
at the hands of McKee Rankin was of the best, if one may take her acting 
in Miss O’Neil’s company as a criterion, her entire repertoire of roles 
with that actress being: Marie in “Magda,” Mrs. Elvested in “ Hedda 
Gabler,” Gertrude in “ The Fires of St. John,” Marah in “ Judith of 
Bethulia,” Lady Sarah Howard in “ Elizabeth,” Lena in “ The Jewess ” and 
the Gentlewoman in “Macbeth.” For the past two years Miss'Binley has 
been playing in Boston with various stock organizations, appearing for the 
most part with the Bowdin Square Stock. She is an ambitious young actress, 
and deserves to succeed. 


270 


December 9 Edgar Smith 

TOURING his early years in the bread-and-butter struggle, Edgar Smith 
was unable to decide whether he should devote himself exclusively, 
to acting or libretto-writing, and, after engaging in both pursuits for 
many years, the latter finally won. Mr. Smith came into the world in Brook¬ 
lyn, N. Y., and was educated at the public schools there and at the Penn¬ 
sylvania Military Academy at Chester, Pa. He began his stage career in 
1877, appearing at Booth’s Theatre in “Julius Caesar.” The season of 1879- 
80, Mr. Smith was a member of Daly’s company, appearing with the organ¬ 
ization the first season of their occupancy of the Broadway theatre that still 
bears Daly’s name. He then lived in St. Louis for several years, and, along 
with Augustus Thomas, wrote “ Editha’s Burglar ” and “ Combustion,” 
acting in these plays during 1884-85. He then supported Patti Rosa in 
“ Love and Duty,” of which he was the author, and in 1886 became associated 
with the New York Casino, where he remained seven years in a dual capacity 
of actor and adapter of various foreign operas, doing dual duty in “ Nadjy,” 
“ Madelon,” “ Poor Jonathan,” “ The Grand Duchess,” etc. Mr. Smith then 
appeared with James T. Powers in “ Walker, London ” and Thomas Q. 
Seabrooke in “ Tobasco,” the latter in 1894, and since then the public has 
known him not in mummer’s garb. He then went to work in all seriousness 
as a librettist, and turned out: “The Spider and the Fly,” “The Grand 
Vizier,” “ The Merry World,” “ Miss Philadelphia,” etc., and adapted for 
the American stage, “ The Girl from Paris,” “ The French Maid,” “ Monte 
Carlo” and “Hotel Topsy Turvy.” In 1896, and continuously since then, 
Mr. Smith has supplied all the burlesques and travesties used at Weber and 
Fields’ Music Hall, continuing with Mr. Weber after the separation of the 
comedians. The season of 1907-08, Mr. Smith wrote the travesty, “ Hip! 
Hip ! Hooray! ” and the burlesques upon “ The Thief ” and “ The Merry 
Widow ” for Mr. Weber’s use. A wonderful thing it is how he can con¬ 
tinue to supply fresh material, practically along the same lines, season after 
season. 



December 10 Kate Jordan 

A COMPARATIVELY recent addition to our already fast-growing list 
of feminine playwrights, Kate Jordan Vermilye, better known to the 
public by her maiden name of Kate Jordan, which she uses exclusively in 
writing, is rapidly coming to the front as one of our most promising 
dramatists, one whose future work should play rather a conspicuous part 
in our stage history. A native of Dublin, Ireland, Mrs. Vermilye came 
to this country when a child, and has lived practically all her life in New 
York City. From her earliest girlhood she has been a loyal devotee to 
literature, finding an outlet for her talents as a short-story writer, and she 
was only a youngster of twelve when her first story appeared in print. 
Unlike the proverbial infant prodigy, however, she soon began to make 
a name for herself in the magazine world, and is now looked upon as one 
of the cleverest story writers of the day, a few of her best known efforts 
being the novel “Time, the Comedian,” published by Appleton’s; “Lady 
Bird ” and “ The Clothes of Reginald,” in the Cosmopolitan; “ The Little 
Gate,” in the American; and “Himself and Herself,” in the Times; while 
a much earlier story, “ A Rose of the Mire,” carried off a prize in Lip- 
pincott’s and was brought out in book form. Mrs. Vermilye’s contribu¬ 
tions to stage literature include: “A Luncheon at Nick’s,” a one-act play, 
produced in vaudeville by Cecilia Loftus; and “ The House of Pierre,” 
written in collaboration with Julie Opp-Faversham, also in one act, pro¬ 
duced November 8, 1907, at the Theatre Royal, Dublin, by Martin Harvey. 
She has several plays in abeyance, notably one in which Charles B. Dilling¬ 
ham is to star Chrystal Herne and another to be brought out by a well- 
known male star. Mrs. Vermilye, who is in type a pretty, chic, New York 
woman, with a personality of potent magnetism, appears to be well upon 
the highway to playwright fame, and hers should be a reward well worth 
the reaping. 


271 


December 1 1 Decima Moore 

IT is now over a dozen years since Decima Moore’s name has appeared 
upon an American play-bill, and yet she is still remembered upon this 
side of the Atlantic as one of the cleverest and prettiest of the many 
George Edwardes musical comedy girls to be imported into our midst from 
time to time. It was in “ A Gaiety Girl,” at Daly’s, in the fall of 1894, that 
Miss Moore quite captured Broadway, and in the role of Rose Brierly she 
made such a lasting inpression that hers will always be a welcome return to 
our shores. Miss Moore was born in Brighton, England, and previous to 
her American debut she was an active participant in many London musical 
productions, making her debut in 1889, in “ The Gondoliers,” at the Savoy, 
subsequently appearing in “ Miss Decima,” at the Prince of Wales’, “ Doro¬ 
thy,” at the Duke of York’s, and “ Jane Annie,” at the Savoy. After her 
appearance in this country, Miss Moore made a long tour of Australia and 
South Africa in “ A Gaiety Girl.” She then re-appeared in London in such 
big successes as “ The Scarlet Feather,” at the Shaftesbury; “ Florodora,” 
at the Lyric; and “My Lady Molly,” at Terry’s; also singing in the leading 
music halls upon many occasions. Following the example set by Marie 
Tempest, within the last two years Miss Moore has abandoned the musical 
stage for that of the drama, and, rather coincidentally, she has been touring 
the British provinces in plays in which Miss Tempest had previously found 
favor in London, appearing in 1906 in the title part in “ All-oLa-Sudden 
Peggy,” and in 1907 as Becky Warder in Fitch’s “ The Truth.” So probably, 
if Miss Moore should venture a second visit upon American soil, it will be 
in the capacity of a dramatic actress rather than a musical-comedy player. 


December 1 2 


Charles A. Bigelow 


/'"'’HARLES A. BIGELOW is an operatic favorite of years standing, and 
^ with a method of fun-making peculiarly his own he tickles our risibilities 


more and more with each new appearance. Mr. Bigelow made his 
first appearance in the world in Cleveland, Ohio, being a son of Henry A. 
and Matilda Bigelow. He spent the greater part of his youth in Boston, 
and began his stage career when a boy of fourteen in “ The Crystal Slipper.” 
After the usual ups and downs of the stage beginner, he first attracted no¬ 
tice as comedian of the Carleton Opera Company. One of his earliest suc¬ 
cesses in New York was with Lillian Russell as Novo Mund in “ The 
Princess Nicotine,” at the Casino. The season of 1894-95, Mr. Bigelow was 
in “ Little Christopher,” and the year following this he was first in “ Ex¬ 
celsior, Jr.,” and then in “ Miss Philadelphia,” in the city of that name. He 
divided the following season between “ Evangeline ” and “ The Girl from 
Paris,” and then came his highly humorous Charles Brown in “ The French 
Maid, which part he played two seasons. Mr. Bigelow then appeared as 
principal comedian with Anna Held for three years, two in “Papa’s Wife” 
and one in “ The Little Duchess,” after which he was with Weber and Fields 
in Twirly Whirly. ’ The season of 1903-04, he was in “ An English Daisy” 
and ‘ 1 he Man from China,” followed by two years with Joseph Weber in 
“ Higgledy Piggledy,” “ Twiddle Twaddle,” and. 1906-07, he was again with 
Anna Held, playing in “A Parisian Model.” He and Miss Held form an 
excellent foil for each other and play together capitally. The season of 
1907-08, Mr. Bigelow was seen in “ A Waltz Dream,” but he is returning to 
Miss Held’s support in the fall of 1908. 




December 1 3 Eleanor Robson 


JTLEANOR ROBSON has certainly enjoyed far more than the average 
share of public approval during her ten years on the stage, and her 
career has been one of uninterrupted success, containing few hardships 
and few disappointments. Yet she did not spring into fame in a night, nor 
has she been thrust forward before her time. The daughter of theatrical 
parents, Charles Robson and Madge Carr Cooke, she was born in Wigan, 
Lancashire, England, and was brought to America when a child of five, gain¬ 
ing her education at a convent on Staten Island. Miss Robson made her 
stage debut with the Frawley Stock Company, San Francisco, September 
I 3 .> 1897 , playing Margery Knox in “.Men and Women.” After a season 
with this company, she spent a year with stock organizations in Milwaukee, 
St. Louis and Denver, and in August, 1899, she joined “ Arizona,” playing 
Bonita. A year later she made her Broadway debut in this same role. She 
was then engaged by Liebler and Co., a firm that has managed her business 
affairs ever since, and early in 1901 she created Flossie Williams in “ Un¬ 
leavened Bread,” later playing Constance in Brownings “ In a Balcony ” with 
Mrs. Le Moyne and Otis Skinner. The season of 1901-02. Miss Robson was 
leading lady with Kyrle Bellew in “ A Gentleman of France,” followed by a 
season in “ Audrey,” and a brief appearance as Juliet. She became a star 
in 1903, since when she has been seen in “ Merely Mary Ann,” “ She Stoops 
to Conquer, ‘ In a Balcony,” “ The Girl Who Has Everything,” “ Susan in 
Search of a Husband. Nurse Marjorie,” “A Tenement Tragedy,” one-act 
play, and “ Salomy Jane ”—in all of which she was most successful, especially 
in the first and last mentioned. Even successful as she is, Miss Robson will 
undoubtedly develop greater powers with the increase of years and experience. 




December 14 Adelaide Prince 

AN actress of considerable distinction* and reserve power, Adelaide Prince 
has played many roles on the New York stage, in most of which her 
personal pulchritude has been of the greatest value, for she generally 
finds herself cast for roles of the scheming, woman-of-the-world variety. 
Miss Prince is an Englishwoman, born in London, her family name being 
Rubinstein, but she was brought to this country in infancy, her family settling 
in Millican, Texas. After she grew up she lived for quite a time in Galveston 
and was an active leader in amateur theatricals. This, of course, was merely 
the stepping-stone to the professional stage and she came to New York in 
1888 to seek a career by way of the stage door. Her first engagement was in 
“ A Possible Case,” under J.. M. Hill’s management, in which she was brought 
to the attention of Augustin Daly, with the result that she appeared at Daly’s 
Theatre four years, beginning with the season of 1889-90. During her stay 
at Daly-’s she played, among other parts: Lady Sneerwell in “ The School for 
Scandal,” Maria in “ Love’s Labor’s Lost,” Lady Twombley in “ The Cabinet 
Minister,” Madame Laurette in “ Love in Tandem,” Celia in “ As You Like 
It ” and Olivia in “ Twelfth Night.” After this excellent experience Miss 
Prince appeared one season in the title role of “ The Prodigal Daughter,” and 
then became leading lady with Creston Clarke, they having met when both 
were at Daly’s, and on April 17, 1895, she became his wife. Miss Prince in 
1901 appeared with Viola Allen. She was then with Ethel Barrymore in “ A 
Country Mouse,” followed by a season divided between “Ulysses” and 
“ Glittering Gloria.” After a road tour in “ The Other Girl,” Miss Prince 
joined the forces of William Gillette, and the season of 1906-07 she was at 
the Garrick Theatre with this actor in “ Clarice,” and, 1907-08, she was seen 
at the Lyric in “ The Secret Orchard.” 


273 


December 1 5 May Buckley 

IV /I AY BUCKLEY has long been numbered among our most prominent 
and popular leading women, and she has any number of excellent 
achievements scored to her credit as an actress. A native of San 
Francisco, Cal., Miss Buckley was reared and educated in New York City. 
She received her stage training under Dion Boucicault, her early years 
behind the footlights being devoted to E. S. Willard’s company, A. M. Pal¬ 
mer’s Stock and a two years’ tour in “ The Burglar.” Miss Buckley then 
went to San Francisco, and joined the Alcazar Stock, where she remained 
several years and created the role of the slave girl, Loey Tsing, in the 
Chinese play, “ The First Born.” It was in this same part that Miss Buckley 
made her re-entry into New York theatricals, appearing at the Manhattan 
Theatre, in the fall of 1897. Later in that season she was seen with John 
Drew in “ One Summer’s Day.” The season of 1898-99, she was first 
with Annie Russell in “ Catherine,” and then in the French farce, “ On 
and Off.” Miss Buckley then went to London, and created the title role 
in the musical comedy of “ San Toy,” at Daly’s in the fall of 1899, but she 
was back in this country after a few months, playing in “ Hearts are 
Trumps,” at the Garden. She began the next season in “ Caleb West,” 
later appearing in “ The Price of Peace,” and then came a season on the 
Pacific coast with the Frawley Stock. Miss Buckley played leads with 
James O’Neill, the season of 1902-03, in “ The Honour of the Humble” 
and “ The Manxman,” the year following playing in “ A Japanese Nightin¬ 
gale ” and with Wright Lorimer in “ The Shepherd King,” continuing 
all of the next season with Mr. Lorimer. Miss Buckley spent the season 
of 1905-06 with Raymond Hitchcock in “ The Galloper,” and the next year 
appeared with William Collier in “ On the Quiet,” again with Mr. Lorimer, 
and with Walker Whiteside in “ The Magic Melody.” She played Rosalie in 
“ The Right of Way,” during the season of 1907-08. She has played in 
stock in Denver, Colo., for the past five summers. 



December 16 Ernest Shipman 

XTOW numbered among our most energetic and prolific producing managers, 
* ' Ernest Shipman has come to the fore with exceptional rapidity during the 
dozen years he has been engaged in the theatrical business. He is a Canadian 
by birth, born in Ottawa, his parents being Montague and Elecia (Halfpenny) 
Shipman, and was educated at Upper Canada College. Mr. Shipman started 
out as a theatrical manager in 1896 with a Shakespearean repertoire corn- 
pan}’-, touring Canada. During the years that followed he branched out 
quite extensively with various stage ventures, rather making a specialty 
of sending out plays to the smaller towns which had previously enjoyed 
a vogue in the big cities. Among some of his offerings have been: “ The 
Prisoner of Zenda,” “ Pudd’nhead Wilson,” Mr. and Mrs. E. R. Spencer 
in “ A Cavalier of France,” Walker Whiteside in “ Heart and Sword,” Harry 
Leighton in “Othello,” Florence Gale in “As You Like It” and Alberta 
Gallatin in “ Cousin Kate.” The season of 1907-08, Mr. Shipman was espe¬ 
cially energetic in his managerial efforts, having the following attractions 
under his direction: Mary Shaw in a Bernard Shaw repertoire, Herbert 
Kelcey and Effie Shannon in “ Bridge ” and “ The Walls of Jericho,” Grace 
Merritt in “ When Knighthood was in Flower,” Bianca West in “ Dorothy 
Vernon of Haddon Hall,” H. B. Stanford and Laura Burt in “ The Walls 
of Jericho,” Lucia Moore in “ Alice Sit-by-the-Fire,” Anna Day in “ When 
Knighthood was in Flower,” Gertrude Shipman in “ Dorothy Vernon of 
Haddon Hall ” and Roselle Knott in “ Alice Sit-by-the-Fire.” Mr. Ship- 
man is thoroughly conversant with the managerial end of the theatrical busi¬ 
ness, and many have been the successful ventures that he has directed. 


274 


December 1 7 


Robert E. Graham 


13 OBER T E. GRAHAM has always found a ready demand for his services 
as an operatic comedian, and for the past thirty years he has figured 
conspicuously in the light opera world, having been identified with 
several of the biggest successes our stage has ever known. A Baltimore 
boy by birth, Mr. Graham began his stage career as call-boy at the Holliday 
Street Theatre in his native city, being a youngster of thirteen at the time. 
He was occasionally given small parts to play, and thus got his start up 
the theatrical ladder. At the age of fifteen, Mr. Graham was a member of 
a Cincinnati stock company, and two years later he was playing important 
parts in Maggie Mitchell’s support. The season of 1878-79, he appeared with 
the Alice Oates Opera Company in such operas as “ The Chimes of Nor¬ 
mandy,” “ The Little Duke ” and “ Girofle-Girofla,” and was quite success¬ 
ful after this with Samuel Colville’s burlesque company in “ The Magic 
Slipper.” In 1881, and for two years, he was principal comedian with 
Minnie Palmer in “My Sweetheart,” followed by a brief term with Rice’s 
Surprise Party in “ Pop.” Mr. Graham and Adah Richmond then fared 
forth in “ Carrots ” for a short time, after which he was with Mestayer and 
Barton’s company in “ Wanted, a Partner.” For a long time after this he 
was associated with the role of General Knickerbocker in “ The Little 
Tycoon,” and was then a member of David Henderson’s forces, appearing 
in “ The Crystal Slipper.” His next success was in “ The Sea King,” fol¬ 
lowed by a starring term in “ Larry, the Lord,” afterward being featured in 
“ The Strange Adventures of Miss Brown,” and was also with Della Fox 
in “ The Little Host.” In the fall of 1900, Mr. Graham created the role 
of Cyrus Gilfain in “ Florodora,” at the Casino, and he was identified with 
this part four consecutive seasons. Then came over two years as August 
Melon in “ Piff, Paff, Pouf,” a short time as Bill Stratford in “My Lady’s 
Maid,” at the Casino, and, 1907-08, his big success as the frisky Embassador 
Popoff in “ The Merry Widow,” at the New Amsterdam Theatre. Mr. 
Graham has certainly been most fortunate in his stage career in being 
associated with such a large number of popular successes, and, too, it is quite 
a tribute to his abilities as a comedian. 





In December ring 
Every day the chimes; 

Loud the gleemen sing 

In the streets their merry rhymes. 

Let us by the fire 

Ever higher 

Sing them till the night expire 


—Longfellow. 


275 


December 1 8 Margaret Gordon 

T HERE is marked individuality, tempered with unusual magnetism, about 
everything that Margaret Gordon does behind the footlights, and some 
day she will probably be rewarded with a part really worth while, the 
results of which may be easily foretold by the excellent work she has done 
in the past. Miss Gordon, who is a Brooklyn girl, is a graduate of the 
American Academy of Dramatic Arts, and she made her stage debut in 

1895 with William Gillette in “ Too Much John¬ 
son,” acting as understudy to the leading woman, 
Maud Haslam, and often playing her part. * The 
season of 1895-96, she was Hyacinthe in “ The 
Gay Parisians,” at the Madison Square Theatre, 
and the year following she was seen at the 
same playhouse as Miranda in “ The Man from 
Mexico.” The following season, 1897-98, Miss 
Gordon created the role of Felice, the French 
maid, in “ The Little Minister,” in the support 
of Maude Adams, a role she played most suc¬ 
cessfully for two and a half seasons, finishing out 
this last half season with the Empire Theatre 
Company in “ Brother Officers,” “ A Mail and 
His Wife ” and “ The Bugle Call.” She then 
appeared with Miss Adams in “ L’Aiglon,” being 
a most interesting Fanny Ellsler, after which 
came a season as leading woman with Virginia 
Harned, playing Nanette St. Pierre in “ Alice of 
Old Vincennes,” also acting as Miss Harned’s 
understudy and several times playing the star role. 
Miss Gordon began the next season as Maun 
Chesterton in “ The New Clown,” and upon the 
withdrawal of this piece she joined William Gil¬ 
lette’s company, playing Therese in “ Sherlock 
Holmes.” The following year she was back with Miss Harned, being Lucy 
Porter in “ The Light that Lies in Woman’s Eyes,” Aurea Vyse in “ Iris ” 
and Nanine in “ Camille.” Early in the season of 1904-05, Miss Gordon 
played a brief engagement of a few weeks with William Collier as Senora 
Juanita in “The Dictator.” She then returned to Miss Adams’ company 
for a second time and continued in the support of that actress for three 
years playing Felice in “ The Little Minister,” Celeste in “ ’Op o’ Me 
Thumb,” Tiger-Lily in “ Peter Pan,” Patty in “ Quality Street ” and the 
Countess Camerata in “ L’Aiglon.” Her most recent Broadway achieve¬ 
ment was as Miss Isaacson in “ When Knights were Bold,” with Francis 
Wilson, at the Garrick, in which her charm of person was seen to particu¬ 
larly happy advantage. No matter what the opportunity, Miss Gordon has 
ever given a good account of herself and in all her work she shows the con¬ 
scientious artist that she is. 



With hands upraised as with one voice, 

They join their notes in grand accord; 

Hail to December! say they all, 

It gave to earth our Christ, the Lord! 

J. K. Hoyt’s “ The Meeting of the Months.” 


276 




December 1 9 


Ruth Maycliffe 

A YEAR ago practically an unknown quantity in stage circles and now 
one of the most popular ingenue actresses that ever stepped upon a 
Broadway stage, Ruth Maycliffe’s sudden rise in public favor has been 
one of the theatrical sensations of the season of 1907-08. Without any 
previous heralding or bombastic advance notices, this wonderfully talented 
little actress made her Broadway debut in the middle of the season at 
Daly’s in Clyde Fitch’s latest play, “ Girls,” and 
in a single night her reputation was made for 
all time with New York theatregoers. She dis¬ 
closed a refreshingly youthful personality, really 
ingenuous and naive, with a sense of the dramatic 
unities almost incredible in so young a player, 
and her success was all the more emphatic be¬ 
cause deserved. Miss Maycliffe is a Texas girl 
by birth, having been born on a ranch, and up 
until less than two years ago she knew only a rug¬ 
ged ranch life. When a youngster of nine she could 
tie a steer with the facile ease of a cowboy. After 
a convent schooling, being a graduate of the Old 
Mission of Mexico, Miss Maycliffe turned her 
thoughts towards a stage career and made her 
debut, the season of 1906-07, with the Woodward 
Stock Company in Omaha and Kansas City. She 
was a member of this company for fifty consecu¬ 
tive weeks, gaining an excellent training and ex¬ 
perience in a round of juvenile and ingenue parts, 
such as Puss Russell in “ The Crisis,” Mabel 
Seabrooke in “ Captain Swift,” Kittie Ives in 
“ The Wife ” and Midge in “ The Cowboy and 
the Lady.” Miss Maycliffe came East, an abso¬ 
lute stranger, in the fall of 1907, and was engaged 
to support Georgie Laurence in vaudeville in the sketch, “ Miss McCobb, 
Manicuriste,” written by Clyde Fitch. Thus it was that she first came under 
the notice of the distinguished playwright, and so impressed was he by 
her uncommon magnetism that he promptly wrote the role of Violet Lans- 
downe in “ Girls ” specially to suit her, taking an exact measure of her com¬ 
pelling personality. Quite naturally, Miss Maycliffe is profoundly grateful 
to Mr. Fitch and feels that whatever success she has known she owes to his 
kindly interest and helpful spirit. The public looks forward with eager 
expectancy to Miss Maycliffe’s re-appearance in a new role, for she has 
proven one of the real “ discoveries ” of the past season, and her future 
movements will be of more than ordinary interest, for she is now numbered 
among the most talented of our younger set of ingenue actresses. 



In a drear-nighted December, 

Too happy, happy brook, 

Thy bubblings ne’er remember 
Apollo’s summer look. 

—Keats. 


277 




December 20 


Joseph Holland 


TOURING the years of Joseph Holland’s professional activity he made a 
conspicuously successful name for himself as an actor of light-comedy 
roles, and previous to his retirement, about five years ago, he figured 
in any number of prominent successes. Easy, graceful and thoroughly at 
home behind the footlights, he was always a most accomplished light come¬ 
dian, and his absence from the busy professional ranks has left a void 
that will not soon be filled. Mr. Holland, born to the stage purple, is a 
son of the late George Holland, and brother to George and E. M. Holland. 
He was born in New York City, and was christened Joseph Jefferson. Mr. 
Holland made his stage debut, after some little experience as a child actor, 
on March 25, 1878, with George Rignold in “ Henry V.” He then appeared 
in Philadelphia with his brother George in “ The Merchant of Venice,” 
playing Antonio, and his New York debut occurred a short time after, Feb¬ 
ruary 24, 1879, in “ Spellbound,” with Wallack’s company. The season of 
1879-80. he supported John T. Raymond in several plays, followed by a season 
with George Holland in “ Our Gentlemen Friends,” and then came two 
seasons in the support of Mr. and Mrs. McKee Rankin in repertoire. After 
a year on tour in “ A Mountain Peril,” Mr. Holland appeared with Clara 
Morris for a season, followed by a season’s return with Mr. and Mrs. 
Rankin. He joined Augustin Daiy’s forces in 1886, and played a number 
of important parts in Daly’s company for three consecutive years. The 
season of 1889-90, Mr. Holland divided between “ The Great Metropolis ” 
and “ Shenandoah,” and the next year he appeared first with Maurice Barry¬ 
more in ‘‘Reckless Temple” and on tour in “Men and Women.” In 1891, 
and for three years altogether, he was leading man with Charles Frohman’s 
Comedians, appearing in “ Settled Out of Court,” “ The Sportsman,” “ The 
Arabian Nights,” “The Other Man,” “Mrs. Grundy, Jr.,” and “ Mr. Wilkin¬ 
son’s Widows.” He spent the season of 1894-95 with Rose Coghlan in “ The 
Check Book ” and with his brother George’s stock company in Philadelphia. 
The year following this, Mr. Holland, along with his brother, E. M. Holland, 
ventured upon a co-starring tour, and for a season and a half they were 
seen in “ A Man with a Past,” “ A Social Highwayman,” “ Two Men of 
Business,” “ A Superfluous Husband ” and “ Dr. Claudius. For an equal 
length of time after this he was featured in “ The Mysterious Mr. Bugle,” 
and the season of 1898-99 he was first with Annie Russell in “ Catherine,” 
then in “At the White Horse Tavern” and later in “The Cuckoo.” He 
appeared on tour the next year with Ethel Barrymore in “ His Excellency the 
Governor,” and the following season appeared in public for only a brief 
time in the production of “ Betsy Ross,” in Philadelphia. He began the 
season of 1901-02 with William Faversham in “ A Royal Rival,” later 
creating the part of Albert Lindsay in “ A Modern Magdalen,” with Amelia 
Bingham. This proved to be Mr. Holland’s last part on the stage, as ill 
health compelled his retirement late in 1902, and it is highly improbable 
he will ever appear behind the footlights again. 

Hi* 



These winter nights, against my window pane 
Nature with busy pencil draws designs 
Of ferns and blossoms and fine spray of pines, 
Oak-leaf and acorn and fantastic vines, 

Which she will make when summer comes again— 
Quaint arabesques in argent, flat and cold, 

Like curious Chinese etchings. 

—T. B. Aldrich. 


278 


December 21 


Jameson Lee Finney 


TAMESON LEE FINNEY, one of the most capable actors on the American 
J stage, excelling in light-comedy roles and those with a vein of tender 
sentiment running through them, came into the world in St. Louis, Mo., 
was educated privately and studied art as a youth, owing to parental ob¬ 
jection to his becoming an actor. Finally, however, he had his way and 
made his stage debut at Syracuse. N. Y., December 25, 1881, with Lawrence 
Barrett in ‘ The Marble Heart,” remaining in the support of this actor 
for six years. He then played a short term with Daly’s company, supported 
Elsie de Wolfe in Thermidor,” was with the Ramsey Morris Comedy Com¬ 
pany and appeared in Rosina Vokes’ support. Beginning with the season 
of 1894-95, and for four years, Mr. Finney was a member of the Empire 
theatre Company, playing in “ The Masqueraders,” “ John-a-Dreams,” “Bo¬ 
hemia,” “ Under the Red Robe,” “ The Conquerors,” etc. He then spent 
a season each with Viola Allen in “ The Christian ” and Nat C. Goodwin in 
The Cowboy and the Lady ” and “ When We were Twenty-one.” Mr. 
Finney joined the Lyceum Theatre Company the season of 1900-01, being a 
member of this organization two years, playing in “ The Man of Forty,” 
“ Lady Huntworth’s Experiment,” “ The Manoeuvres of Jane,” “ Wheels 
within Wheels,” “ Frocks and Frills ” and “ Notre Dame.” In the spring of 
1902, he played Modus in “ The Hunchback,” supporting Viola Allen. Since 
that time Mr. Finney has played in the following pieces, “ The New Clown,” 
“The Two Schools,” “A Fool and His Money,” with the star-cast in “ The 
Two Orphans,” Alice Fischer in “The School for Husbands,” Margaret 
Anglin in “ Zira,” in “ The Stolen Story ” and, 1907-08, he starred, under 
the direction of Walter N. Lawrence, in “ The Man on the Case ” and “ The 
Man on the Box.” An easy, finished, magnetic actor, Mr. Finney deserves 
every recognition as one of our best players, and a pity it is that permanent 
stellar honors have not been his as yet. 



December 



Katherine Florence 


ATHERINE FLORENCE had some little experience as a child actress 
*** in the support of her mother, Katherine Rogers, but she made her 
real debut in September, 1887, with Mrs. Langtry at the Fifth Avenue 
Theatre, since which time, with the single exception of one season, she has 
played at least one part every year on the New York stage, which is certainly 
something of a record. After her debut with Mrs. Langtry she appeared the 
next season at the Fifth Avenue in “ Philip Herne,” rejoining Mrs. Langtry 
during that winter. The season of 1889-90, Miss Florence appeared at 
Proctor’s Twenty-third Street Theatre with Stuart Robson in “ The Hen¬ 
rietta,” and the next two seasons she was with William H. Crane at the 
old Star Theatre. She began the season of 1892-93 in “ The Lost Paradise,” 
and was then at the Empire in “ The Girl I Left Behind Me.” The next 
season Miss Florence replaced Effie Shannon in the Lyceum Theatre Com¬ 
pany, and for five consecutive seasons she was seen in all the big successes 
at that popular playhouse. The season of 1898-99, she was in “ On and Off,” 
at the Madison Square, and with E. H. Sothern in “ The King’s Muske¬ 
teers,” at the Knickerbocker. The year after she was at the Garrick with 
William Gillette in “ Sherlock Holmes,” and at the same playhouse the 
next season with William H. Crane in “ David Harum,” later appearing at 
the Lyceum in “ The Lash of a Whip.” She began the season of 1901-02 with 
“ Sky Farm,” but left the cast before the New York engagement, this being 
the one season she did not appear on the metropolitan stage, and all of the 
next year she was not seeii in public at all. Upon the resumption of her pro¬ 
fessional duties she was seen, 1903-04, at the Belasco with Henrietta Crosman 
in “ Sweet Kitty Bellairs ”; 1904-05, at the Hudson with William Faversham 
in “ Letty ”; 1905-06, with Nat Goodwin in “The Beauty and the Barge,” at 
the Lyceum; at the Manhattan in “Before and After,” and the season of 
1906-07 she again sought the seclusion of private life, appearing for a brief 
time, in the fall of 1907, with Richard Golden in “ The Other House,” at 
the Majestic Theatre. 


270 


December 23 


Dorothy Dorr 


r\OROTHY DORR, dashing and alert, with really delightful powers as 
a comedienne, is numbered among the most popular of our present-day 
leading women, and her unusually active career has been filled with a 
most noteworthy list of professional achievements. A Bostonian by birth, 
Miss Dorr studied for the stage under Franklin Sargent, making her debut 
at the Grand Opera House, Chicago, in June, 1886, as Rachel McCreery 
in “ Held by the Enemy.” She next made quite a success in the leading 
parts in “ A Possible Case ” and “ Robert Elsmere.” Miss Dorr then figured 
in the original New York production of “ Shenandoah,” the season of 
1889-90. Beginning with the spring of 1890, and for five years thereafter, 
she was identified exclusively with the London stage, appearing on the other 
side in “ Diamond Deane,” “ Money,” “ Happy Returns,” “ Dick Wilder,” 
“The Honourable Herbert,” “Saints and Sinners,” .“ Strathlogan,” “The 
Lights of Home,” “ The Lost Paradise ” and “ Delia Harding.” After a long 
absence from the stage, Miss Dorr took up her work again, the season of 
1900-01, as leading lady of the Alcazar Stock Company, San Francisco. She 
re-appeared on the New York stage on January 7, 1902, appearing at Daly’s 
with the Lyceum Theatre Company in “ Frocks and Frills.” The season 
of 1902-03, she was first the heroine in “ Hearts Aflame,” next played the 
Duchess of Quentin in “ The Bishop’s Move,” supporting William H. Thomp¬ 
son, and was then prima donna for a brief time in “ The Runaways ”—good¬ 
ness only knows what tempted her to venture into this new field. She then 
appeared in Boston with William Faversham in his short-lived production 
of “ Mr. Sheridan,” and for a long time after this was identified with the 
role of Claire Forster in “ The Woman in the Case,” in the support of 
Blanche Walsh. She spent the season of 1906-07 with Mrs. Fiske in “ The 
New York Idea,” re-appearing with Miss Walsh in “ The Straight Road,” 
and in “ The Ambitious Mrs. Alcott,” and, 1907-08, she was first in “ The 
Step-Sister ” and then in Philadelphia in “ Falling Leaves.” An actress of 
considerable personal charm, Miss Dorr has always upheld the best stage 
traditions in her acting, and her success has been thoroughly deserved in 
every instance. 




December 




T^EW actors in active harness nowadays can boast of as busy a career as 
^ James L. Carhart, a member of the old guard in every sense of the 
word. Born in West Bloomfield, Mich., and educated at Pontiac and 
Detroit, Mr. Carhart, after doing valiant service in the Civil War, made his 
stage debut September 6, 1865, with the stock at the Athenaeum Theatre, 
Detroit. During his first years behind the footlights, he appeared with stock 
organizations in Pittsburg, Cincinnati, Louisville, New Orleans, Washington 
and Chicago. Mr. Carhart then became identified with some of our foremost 
stars, appearing with Clara Morris in repertoire, with Genevieve Ward in 
“ Jane Shore,” Jennie Lee in “ Bleak House ” and played Grazebrook in 
“An Unequal Match,” in the support of Mrs. Langtry "upon the occasion 
of her American debut, at Wallack’s, November 6, 1882. To come down 
to more recent times, Mr. Carhart has appeared with Creston Clarke in 
Shakespearean repertoire, with Cora Tanner in “ Alone in London,” Fay 
Davis in “ Lady Rose’s Daughter,” Ben Hendricks in “ Erik of Sweden,” 
Viola Allen in “ The Winter’s Tale ” and with Richard Mansfield in “ Henry 
V.,” “ Beaucaire ” and “ Peer Gynt.” In the fall of 1907, he played Mr. 
Lawton in “ The Coming of Mrs. Patrick,” at the Madison Square. Mr. 
Carhart has played over eight hundred parts in all, seventy-four of which 
have been Shakespearean characters, a truly admirable record, one worthy 
of so excellent an actor. 


280 


December 25 


Josephine Cohan 

J OSEPHINE COHAN stands pre-eminent among our modern-day come¬ 
diennes, her grace and witchery, added to her pleasing comedy talents, 
making her a foremost figure upon the theatrical horizon. She has been 
before the public practically all her life, and with each succeeding season 
comes not only added favor from theatregoers, but a marked advance and 
greater development in her chosen profession. Miss Cohan was born in 
Providence, R. I., the daughter of 
Jerry J. and Helen F. Cohan and a 
sister to George M. of the same ilk. 

She began her stage career as a 
child actress in the frontier drama, 

“ Daniel Boone,” and later in vau¬ 
deville along with her parents and 
brother. She continued in this line 
for a number of years, the family 
finally working their way into the 
headliner class, from which they 
evolved into the Four Cohans, of 
stellar fame. During the three years 
that this organization was in exist¬ 
ence, Miss Cohan proved her every 
right to praise and approval for her 
handling of the roles of Mrs. Dickey 
Dickson in “ The Governor’s Son ” 
and Madeline Tiger in “ Running 
for Office,” her chic personality and 
wonderful ability as a dancer finding 
excellent opportunities here. Apro¬ 
pos of Miss Cohan’s Terpsichorean efforts, it was a happy thought that 
inspired a well-known critic to say of her, “ She has brains in her feet 
as well as her head.” After the dissolution of the Four Cohans as an 
organization, she spent one season as leading lady with “ The Rogers 
Brothers in Paris,” where she again captivated all hearts by her fetching 
portrayal of the role of Marjorie Kelleher. The season of 1905-06, Miss 
Cohan became a vaudeville headliner, presenting a series of original sketches, 
and she continued in that line of endeavor for a long time, her following 
and popularity growing with each succeeding season. The stage has few 
such captivating actresses as Miss Cohan; her winning and engaging per¬ 
sonality, added to her bewitching smile and glorious hair, would make her 
an equally conspicuous figure in any other profession. In private life she is 
the wife of Fred Niblo, the well-known humorist, a union that has proved 
one of the happiest in Stageland, and they are the parents of an attractive 
son, named after his father, born January 23, 1903. Miss Cohan is con¬ 
stantly receiving offers from musical-comedy managers to be featured in 
their productions, but she has been immune to all offers until the spring of 
1908 when her brother, the irrepressible George M., lured her from vaudeville 
to become his leading support in his production of “ The Yankee Prince,” 
she proving a keen delight as Evelyn Fielding in this piece. A wonderfully 
clever girl is Josephine Cohan, and the day is not far distant when she will 
take her rightful and well-earned place among our leading stellar lights. 



281 





December 26 


Marian Chapman 


IV/IARIAN CHAPMAN has proven her worth upon many occasions as 
an actress of ingenue roles, and by a long series of consistently good, 
performances she has made quite a name for herself in stage circles. A 
native of Baltimore, Md., Miss Chapman began her climb up the theatrical 
ladder the season of 1897-98, playing Mary Aylmer in “ The Sporting 
Duchess,” later in that same season appearing in the support of J. H. 
Stoddart in the original production of “ The Bonnie Briar Bush.” The next 
year she joined the Castle Square Stock Company, Boston, playing juvenile 
roles, and was a member of this company four consecutive seasons, aside 
from a short time, in the summer of 1901, when she appeared in Chicago 
in “ The Village Postmaster.” The season of 1902-03, Miss Chapman was 
leading lady in “ Quincy Adams Sawyer,” and the year following she 
appeared first with Aubrey Boucicault in “ Captain Charley ” and then played 
Page Dearborn in “ The Pit,” supporting Wilton Lackaye. She then spent 
one season in “ Siberia,” at the Academy of Music, and the next year 
appeared in “ As Ye Sow,” at the Garden, and “ The Redskin,” at the 
Liberty. Miss Chapman’s most recent work on the New York stage was at 
the Berkeley Lyceum, in the fall of 1907, when she played the heroine in 
the one-act play, “ Washington’s First Defeat,” supporting Arnold Daly. 
A graceful, pleasing little actress,. Miss Chapman may always be relied upon 
to give a good account of herself in any role for which she is cast. 


4 s 4 ? 


December 



Katherine 



PEW of our present-day feminine stars, at least those of the younger set, 
*■ have had a busier or more noteworthy career than Katherine Grey. 

Born in San Francisco, her family name being Best, Miss Grey made 
her stage debut on October 2, 1889, with the Daly company, her first part being 
Lou Bigelow in “ The Golden Widow.” She left Daly’s in the spring of 
1890, joining “Shenandoah,” followed by a season each in “All the Com¬ 
forts of Home,” “ Jane,” “ The New South ” and “ Shore Acres.” The 
season of 1894-95, she played important roles in Richard Mansfield’s com¬ 
pany, dividing the year following between “ The Great Diamond Robbery ” 
and “ His Absent Boy.” The next winter Miss Grey passed vacationing in 
Florida, and from then on her busy career has been as follows: 1897-98, “ A 
Southern Romance ” and “ The First Born ”; 1898-99, with Charles Coghlan 
in “ The Royal Box,” James K. Hackett in “ Rupert of Hentzau,” in “ The 
Last Chapter,” and with Mr. Mansfield in “ Cyrano de Bergerac ”; 1899-00, 
with Mr. Mansfield in repertoire, and Mrs. Le Moyne in “ The Greatest 
Thing in the World”; 1900-01, as Glory Quayle in “The Christian,” with 
the Cummings Stock, Los Angeles, and Frawley Stock, ’Frisco; 1901-02, with 
Arthur Byron in “Petticoats and Bayonets,” and in “The Last Appeal”; 
1902-03, in “The Ninety and Nine” and “Facing the Music”; 1903-04, 
“The Best of Friends,” “The Other Girl” and Broadway Stock, Denver; 
1904-05, with William H. Crane in “ Business is Business,” in “ The Firm 
of Cunningham” and the Proctor Stock; 1905-06, with Nat Goodwin in 
“ Wolfville,” with Arnold Daly in the Shaw repertoire, in “ The Redskin,” 
with Mary Shaw in “ The Love that Blinds,” with the Boston Empire Stock 
and, finally, with the Bishop Stock, Oakland, Cal.; 1906-07, Hunt Stock, 
Chicago, and stellar debut in “ The Reckoning ” ; 1907-08, starring in “ The 
Reckoning” and “ The Worth of a Woman ” in New York and on the Pacific 
coast in a repertoire of plays. During her stage career Katherine Grey’s 
services have been rather in demand, haven’t they? 


282 


December 28 


Harry B. Smith 

TTNQUESTIONABLY, Harry B. Smith is the most prolific of all Ameri- 
^ can librettists, and scarcely a season passes that does not see at least 
a half-dozen efforts from his pen, the greater number of which prove 
highly successful. He was born in Buffalo, N. Y., the son of Josiah B. and 
Elizabeth (Bache) Smith. He spent his youth in Chicago, and was engaged 
in newspaper work in that city for several years; His first output for the 
stage was the libretto for a piece called “ Rosito,” produced by Fay Tem¬ 
pleton. Among Mr. Smith’s best known works, one may mention: “ Don 
Quixote,” “ The Knickerbockers,” “ Robin Hood,” “ The Serenade,” “ The 
Viceroy ” and “ Maid Marian ”—all produced by the Bostonians; “ The 
Wizard of the Nile,” “The Idol’s Eye,” “The Office Boy” and “The 
Tattooed Man,” for Frank Daniels; “The Fortune Teller” and “The Sing' 
ing Girl,” for Alice Nielsen; “Half a King,” “The Little Corporal” and 
“ The Strollers,” for Francis Wilson; “ The Prima Donna,” “ A Madcap 
Princess ” and “ Miss Dolly Dollars,” for Lulu Glaser; “ Foxy Quiller ” and 
“The Billionaire,” for Jerome Sykes; “Papa’s Wife,” “The Little Duchess” 
and “ The Parisian Model,” for Anna Held; “ Rob Roy,” for the Whitney 
Opera Company; “ Babette,” for Fritzi Scheff; “The Tzigane,” for Lillian 
Russell; “ The Rich Mr. Hoggenheimer ” and “ Nearly a Hero,” for Sam 
Bernard; “The Fencing Master,” for Marie Tempest; “The Highwayman,” 
“ The Three Dragoons,” “ The Liberty Belles,” “ The Wild Rose,” “ The 
Rounders,” “ The Casino Girl,” “ The Free Lance,”—and almost as many more 
besides! Yes, there is no doubt about it, Harry Bache Smith is our premier 
librettist. 


Oh, Winter! ruler of the inverted year, 

I crown thee king of intimate delights, 
Fireside enjoyments, home-born happiness, 
And all the comforts that the lowly roof 

Of undisturbed Retirement and the hours 
Of long, uninterrupted evening know. 

—Cowper. 


283 


December 29 


Charlotte Walker 


"NTOW conceded to be one of the foremost leading women on the American 
“*■ ^ stage, Charlotte Walker is probably removed from stellar fame only 
by a year or two, and, as she is unquestionably a most charming actress, 
attractive and sincere, it will be but her just reward. A native of Galveston, 
Texas, Miss Walker began her stage career in 1895 as a member of Richard 
Mansfield’s company. She then went abroad, and made her debut in London, 
at the Comedy Theatre, July 2, 1896, as Hattie Van Tassell Smythe in “ The 
Mummy,” supporting Charles Hawtre)'. Miss Walker then became the 
wife of Dr. John B. Hayden, a Galveston physician, and the stage knew her 
not for a long time, resuming her career the season of 1900-01 with Marie 
Dressier in “ Miss Printt,” later in that same season supporting Janies A. 
Herne in Sag Harbor.” She began the season of 1901-02 with James K. 
Hackett in “ Don Caesar’s Return,” then appeared with Kyrle Bellew in “ A 
Gentleman of France,” later re-joining Mr. Hackett in “ The Crisis.” She 
remained as Mr. Hackett’s opposite player until the spring of 1905, supporting 
him in “John Ermine of the Yellowstone,” “The Crown Prince,” “The 
Fortunes of the King ” and “ The House of Silence,” also appearing under 
his direction for a short time with Arthur Byron in “ Jack’s Little Surprise.” 
The season of 1905-06, Miss Walker was seen in the following plays : “ The 
Prodigal Son,” “The Embassy Ball,” supporting Lawrence D’Orsay, “The 
Prince Chap,” “As Ye Sow,” “The Triangle,” “The Optimist” and “The 
Embarrassment of Riches.” She then spent a season in “ On Parole,” and, 
1907-08, was featured, along with Frank Keenan, in the Belasco production, 
“ The Warrens of Virginia.” For the past four summers, Miss Walker has 
appeared at the head of a stock company in Washington, D. C. She is an 
energetic, ambitious actress, and her success is indicative of the fine acting 
material of which she is made. 





December 



Rosina Watkins 


A LTHOUGH Rosina Watkins crossed the great divide several years ago, 
** her name will long have many tender recollections for our older theatre¬ 
goers, many of whom recall her as a popular star and leading woman 
under the old stock regime. She was a gifted actress and a most lovable 
character in private life, being noted for her amiability and cheerfulness. 
An Englishwoman by birth, she was first known to theatregoers under her 
maiden name of Rosina Shaw, then as Mrs. Charles D. S. Howard and 
finally as Mrs. Harry Watkins. Practically all of her stage career was 
passed in this country, playing in all the prominent stock companies of that 
time, and for many years she and Mr. Watkins starred in a repertoire of 
popular plays. She practically retired from the stage in the middle eighties, 
though she frequently appeared after that in the support of her daughter, 
Amy Lee, the well-known comedienne. On May 18, 1899, Mrs. Watkins 
entered the Edwin Forrest Home in Philadelphia, and remained there until 
the final lowering of her life’s curtain on August 22, 1904. She was greatly 
beloved, both as an actress and in private life, and her passing has left a 
void which is still deplored by her large circle of friends and admirers. 



December 31 


Edward J. Connelly 

nr HE consummate skill and splendidly finished art of Edward J. Connelly 
has long been the subject of much favorable note at the hands of our 
press and public. With admirable technique and the power to bring 
a vital note of individuality to each of his various roles, this really excellent 
actor has proven his right to the place given him as one of our leading 
actors of the day and, with a becoming sense of modesty, he accepts his 
honors in the graceful spirit of ever 
seeking not only to maintain his high 
standard, but to raise it to a higher 
one—and more than that no actor 
can do. A native of New York City, 

Mr. Connelly had the good fortune 
early in his career, after a brief ex¬ 
perience in several Western stock 
companies, to fall under the discern¬ 
ing notice of that past master of 
stagecraft, James A. Herne, and for 
a period of five years he appeared in 
the support of that actor, gaining a 
tremendous amount of invaluable 
training, which has since stood him 
in good stead. So apt a pupil did 
Mr. Connelly prove in the Herne 
school that he was cabled for from 
London to succeed Dan Daly in the' 
leading role of Ichabod Bronson in 
“The Belle of New York,” at the 
Shaftesbury Theatre. For over three 
years he was identified with this piece, touring both England and the 
United States with great success. The season of 1902-03, Mr. Con¬ 
nelly divided between Klaw and Erlanger’s production of “ Huckleberry 
Finn ” and the original production of “ Peggy from Paris,” in Chicago. 
The next season he was specially engaged by Charles B. Dillingham as 
one of the leading players to support Fritzi Scheff in “ Babette.” Mr. 
Connelly then scored a tremendous personal triumph by his portrayal of 
the Mysterious Stranger in “ Bird Center,” at the Majestic Theatre, this 
being one of the most notable bits of individual acting ever seen on the 
New York stage. He was next seen at the opening of the Colonial Theatre 
in the condensed musical pieces, “ The Duel in the Snow,” “ The Athletic 
Girl ” and “ Leah Kessler.” The season following, Mr. Connelly was one 
of the stellar lights in Joe Weber’s company, being a most conspicuous and 
successful participant in the burlesques of “ Higgledy Piggledy,” “ The Col¬ 
lege Widower,” “ Twiddle Twaddle ” and “ The Squaw Man’s Girl of the 
Golden West.” After a season and a half with the Weber company, Mr. 
Connelly became a star headliner in vaudeville in George Ade’s sketch, 
“ Marse Covington,” and his admirable artistry in this role, full of poignantly 
effective touches, has brought down upon him such an avalanche of public 
praise and approbation that, whisper it softly, it is more than likely the 
sketch will be elaborated into a four-act play, with Mr. Connelly in a full- 
fledged stellar capacity—a position that was his long ago by right of merit 
and talent. 



285 






























































































































• k 












• 































The following is a list of names 
in the first series of The Actors’ 


Albani, Emma 
Albaugh, Mary Mitchell 
Allen, C. Leslie 
Allen, Ricca 
Angeles, Aimee 
Anderson, Mary 
Armstrong, Sydney 
Ashwell, Lena 
Arthur, Julia 

Bangs, John Kendrick 
Barnabee, Henry Clay 
Barraclough, Sydney 
Barrows, James O. 
Barton, Grace 
Barry, Jimmy 
Barry, Mrs. Jimmy 
Beerbohm, Max 
Beere, Mrs. Bernard 
Belasco, David 
Belden, Edwin 
Bell, Gaston 
Bellew, Kyrle 
Bennett, Gertrude 
Benson, Ruth 
Beringer, Esme 
Bergen, Nella 
Bishop, Kenyon 
Bispham, David 
Black, Kenneth 
Blinn, Holbrook 
Bloodgood, Clara 
Bond, Frederic 
Boniface, George C. 
Bonita 

Booth, Agnes 
Boucicault, Aubrey 
Bratton, John W. 
Breese, Edmund 
Brinker, Una Abell 
Browne, Henrietta 
Buckley, Annie 
Burgess, Neil 
Burnette, Francis H. 
Burress, William 
Butler, Nellie 
Byron, Arthur 
Byrne, Francis 

Cameron, Violet 
Campbell, Mrs. Patrick 
Carey, Eleanor 
Carle, Richard 
Carter, Mrs. Leslie 
Carlyle, Francis 


of the artists 
Birthday Book. 

Cartwright, Charles 
Chamberlin, lone 
Chase, Pauline 
Chevalier, Albert 
Clark, J. I. C. 

Clarke, Creston 
Clarke, Harry Corson 
Cliffe, H. Cooper 
Clowes, Mary Louise 
Coghlan, Rose 
Cohan, George M. 
Collette, Charles 
Conried, Heinrich 
Cooper, Frank 
Coquelin, Constant 
Corbett, James J. 
Corthell, Herbert 
Courtenay, William 
Craig, Edith 
Crane, Gardner 
Crane, Mrs. Gardner 
Cressy, Will M. 
Crichton, Madge 

Dale,' Gretchen 
D’Arville, Camille 
Davenport, Allen 
Davis, Fay 
Davis, Wm. J. 

Dayne, Blanche 
Dazy, C. T. 

Deane, Barbara 
De Angelis, Jefferson 
Delmore, Ralph 
De Reszke, Edouard 
De Reszke, Jean 
De Wolfe, Elsie 
Ditrichstein, Leo 
Dixon, Thomas, Jr. 
Dodson, J. E. 

Dressier, Marie 
Drewitt, Stanley 
Dupree, Minnie 
Duse, Eleanor 

Lames, Emma 
Earl, Virginia 
Eberle, E. A. 
Echegaray, Jose 
Edwardes, Paula 
Edwards, Julian 
Elliott, Maxine 
Emney, Fred 
Erlanger, A. L. 
Erskine, Wallace 


whose biographies appeared 


Eustace, Jennie A. 

Eytinge, Rose 

Farkoa, Maurice 
Farren, George F. 
Faversham, William 
Ferguson, W. J. 
Fields, Lew M. 

Fiske, Mrs. 

Fitch, Clyde 
Francis, Emma 
Freear, Louie 
Frohman, Charles 
Fulda, Ludwig 
Fulton, Chas. 

Fyffe, Charles J. 

Ganthony, Richard 
Gardner, Amelia 
Germon, Etrie 
Gifford, Ada 
Gilbert, W. S. 

Gillette, William 
Gilman, Ada 
Gilson, Lottie 
Girardot, Etienne 
Golden, Richard 
Gould, Howard 

Hackett, James K. 
Hading, Jane 
Haines, Robert T. 
Hall, Pauline 
Hamilton, Theodore 
Hanford, Chas. B. 
Harvey, Martin 
Haswell, Percy 
Hauck, Minnie 
Hawtrey, Charles 
Hite, Mabel 
Hilliard, Harry S. 
Hitchcock, Raymond 
Hopper, Edna Wallace 
Howard, Mabel 
Hutchins, Miriam 

Ulington, Margaret 
Irish, Annie 
Irving, H. B. 

Irving, Isabel 
Irwin, May 

Janis, Elsie 
Janis, Percy 
Jefferson, Thomas 


287 


Jeffreys, Ellis 
Jeffries, Maud 
Jerome. Clara Belle 
Jones, Henry Arthur 
Jones, Mrs. W. G. 

Kahn, Florence 
Keim, Adelaide 
Kellar 

Kelley, Desmond 
Kelly, John T. 
Kemble, Lillian 
Kemper, Collin 
Kendal, W. H. 
Kendal, Mrs. W. H. 
Kimball, Grace 
Kingsbury, Lillian 
Klaw, Marc 
Klein, Charles 
Knowles, R. G. 
Knowlton, Maude 

La Harte, Rose 
Langtry, Mrs. 
Laughlin, Anna 
La Verne, Lucille 
Levey, Ethel 
Levy, Bert 
Lester, Florence 
Lewis, Ada 
Lewis, Jeffreys 
Lloyd, Violet 
Lorimer, Wright 
Love, Mabel 
Lowrie, Jeannette 
Luby, Edna 

Magin, Bonnie 
Mansfield, Richard 
Marceline 
Marlowe, Julia 
Marinoff, Fanny 
Massen, Louis F. 
Mason, John 
May, Edna 
Mayhew, Stella 
McAllister, Paul 
McCaull, Angela 
McCarthy, Lillah 
McIntosh, Burr 
Melba, Nellie 
Meltzer, Chas. Henry 
Millard, Evelyn 
Millward, Dawson 
Milliken, Sandol 


Milton, Maud 
Moretti, Eleanor 
Murphy, John Daly 

Naudain, May 
Norris, William 
Novelli, Ermete 

Olcott, Chauncey 
Oldcastle, Elouina 
O'Neill, James 
Owen, Cecil 

Palfrey, May 
Palmer, Minnie 
Paulding, Frederick 
Pastor, Tony 
Paxton, Sydney 
Peple, Edward 

Rand, Rosa 
Randolph, Louise 
Raymond, Maude 
Raynore, Katherine 
Rehan, Ada 
Reiffarth, Jennie 
Revell, Dorothy 
Revelle, Hamilton 
Rice, Fanny 
Ring, Blanche 
Ritchie, Adele 
Roberts, Florence 
Roberts, Franklyn 
Robertson, Forbes 
Rockwell, Florence 
Royle, Edwin M. 
Ruskin, Sybil 
Russell, Annie 
Russell, Dorothy 
Ryley, Madeline Lucette 

Santje, Suzanne 
Sardou, Victorien 
Scheff, Fritzi 
Scott, Agnes 
Shattuck, Truly 
Shaw, George Bernard 
Sheldon, Suzanne 
Sherwood, Josephine 
Shipman, Louis Evan 
Simms, Willard 
Sloane, A. Baldwin 
Snyder, Ella 
Sothern, E. H. 

Sousa, John Philip 


Spong, Hilda 
Spooner, Edna May 
Stahl, Rose 
Starr, Frances 
Steger, Julius 
Stewart, Grant 
Stephens, R. N. 

Stone, Amelia 
Surratt, Valeska 
Sutherland, Anne 
Sudermann, Hermann 
Sugden, Charles 
Sutro, Alfred 

Taliaferro, Mabel 
Tempest, Marie 
Terry, Ellen 
Thomas, Augustus 
Thompson, Denman 
Thursby, Emma 
Tilley, Vesta 
Toler, Sidney 
Tracy, Helen 
Tree, Beerbohm 
Tucker, Jac 
Tyler, George C. 

Tyler, Odette 

Vanbrugh, Violet 

Wagenhals, Lincoln A. 
Walcott, Charles M. 
Wallace, Edna 
Ward, Genevieve 
Warde, Frederick 
Warfield, David 
Warner, Charles 
Warner, H. B. 
Warrilow, Maude 
Watson, Henrietta 
Weathersby. Jennie 
Weber, Joseph M. 
Welford, Dallas 
White, Maud 
Whitney, Edith 
Whittlesey, White 
Willard, E. S. 
Williams, Bransby 
Williams, E. Harcourt 
Williams, Espy 
Williams, Eva 
Williams, Zenaide 
Wilson, Francis 
Wilson, George W. 
Wise, Thomas A. 
Woodruff, Henry 


288 



























» 




















OCT 


, "* T ' © 1IAAQ 

l!a*Uo 























♦ 






























































































